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IPHIGENIA, 


From a wall-painting at Pompeii 


COLLEGE SERIES OF GREEK AUTHORS 
EDITED UNDER THE SUPERVISION OF 


JOHN WILLIAMS WHITE anp THOMAS Ὁ. SEYMOUR, 


HURIPIDES 


mel GHNIA 


AMONG THE 


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SYNOPSIS OF THE INTRODUCTION. 


Age and Celebrity of the Play. 


Iphigenia Taurica and Iphigenia Aulidensis — The Tauric situation a hit of 
Euripides — Dramatized by other playwrights, Greek and Roman — Depicted 
upon gems, amphorae, sarcophagi, etc. — The most faultless Euripidean 
tragedy. 

The Legend and its Growth. 

Argument of the play of Euripides — Growth of the legend partly literary, 
partly popular — Its form in Homer— In lyric poetry — Pindar —In tragedy — 
Local myths in the Attic drama — Euripides modifies the tradition of Orestes’ 
sojourn at Athens — Attic cults the nucleus of the play — Halae and Brauron 
— The dramatic representation brought home to the spectator — A mytho- 
logical tangle. 

Plot and Scenic Adjustment. 

The plot not simple, but complicated — ἀναγνώρισις and περιπέτεια --- Sus- 
pense — Irony — Both effects present early in the play — Intensified as the 
action proceeds — The spectator at an advantage as regards all the dramatis 
personae — Method of the ἀναγνώρισις --- δέσις and λύσις --- Irony of equivoke 
— Stage requirements — Distribution of the parts — Entrances and exits. 


Artistic Structure. 


Critical theories won by induction from Greek models — Instructiveness of 
Euripides’ irregularities — Euripidean prologue — deus ex machina — A double 
interference — Three motives for the celestial intervention — Apollo’s oracles 
not fulfilled through human deceit — Sympathy for the chorus as persons — 
Gratification of local sentiment — Epic element — The ῥῆσις ἀγγελική — Con- 
spicuous in Euripides — Messenger for both δέσις and λύσις — First narration 
— Artistic advantage of the narrative form — Second narration — Ancient 
spectators not ‘closet critics’ — Function of the chorus in tragedy — Atten- 
uated in Euripides — Chorus of captives — Pertinence of the several choral 
performances — The parodos — The stasima — Second commos, etc. 


Metres and Technique. 


Abruptness of the learner’s step from epos to drama — Greek drama a 
musical performance — The accompanying music has been lost — Wholesome 
curbs to poetic genius — Iambic trimeter — Relaxed severity of its form — 
After about 420 B.c. — Trochaic tetrameter — Revived by Euripides — Ethos 
of the trochaic rhythm — ἀντιλαβαί --- στιχομυθία --- Enlarged in scope by 
Euripides — The anapaestic system — ἔπη and μέλη --- Distinguished by the 
dialect — Free anapaests — Parodos — Prelude to the dirge — Prosodiac and 
paroemiac verses — Commos (θρῆνος) — Logaoedic strophes — Variety and 
flexibility of the logaoedic rhythm — First stasimon, metrical scheme — Sec- 
ond stasimon, metrical scheme — Third stasimon, metrical scheme — Doch- 
miacs — The characteristic tragic measure — Second commos, metrical scheme 
— Scene of recognition (μέλος ἀπὸ σκηνῆς), metrical scheme. 


ἘΝ RODUCTION. 


AGE AND CELEBRITY OF THE PLAY. 


Evurrewes’ Iphigenia among the Taurians is certainly one of the 


poet’s later works, although the year of its representa- _ |. 
=. . Iphigenia 


tion is unknown. A quotation in the Frogs of Aristo- Taurica and 


phanes! shows that it preceded the Iphigenia at Aulis, 'phigenta 
b Aulidensis. 


. which was first brought out after the author’s death by 


his son, the younger Euripides. The earlier play is thus the dram- 
atization of a passage in the legendary history subsequent to that 
which forms the theme of the later play. This order of composi- 
tion might be inferred from the treatment of the subject in the two 
dramas severally considered. To make the heroine resign herself 
as a voluntary sacrifice for Hellas, as is done in the scene at Aulis, 
was an afterthought of Euripides. Had this idea been already 
presented to the public, the poet would hardly have reverted to the 
traditional conception of the event, which is preserved in the Tauric 
play —where the daughter of Agamemnon, ministering in a sav- 
age land to the goddess who has spirited her away out of the 
hands of her slayers, deplores, with grave reproach upon her 
father’s name, the cruel destiny that reared her as a victim to 
the sacrificial knife. 





1 Euripides. 
1232 Πέλοψ ὁ Ταντάλειος εἰς Πῖσαν μολὼν 
θοαῖσιν ἵπποις 


Aeschylus. 


ληκύθιον ἀπώλεσεν. 


The Frogs was represented 405 n.c., the year after the death of Euripides, but 
the quotation implies an acquaintance with the tragedy on the part of the 
Athenian public, and shows that it must have been brought out during the life 
of the poet. Some conjectures that have been made as to the year of repre- 
sentation are mentioned in foot-note #1. 


4 INTRODUCTION. 


It was a moment of the happiest inspiration, when Euripides 
The Tauric | 2S led so to combine the offshoots of the legend as to 
situation a bring Orestes and Pylades into the presence of Iphi- 
hit of Euri- genia, to be sacrificed under her auspices at the altar of 
pides, Fan byes : . 

the Taurian Artemis. The world could not be slow to 
applaud the singular felicity of the dramatic situation thus pro- 
duced and the masterly skill with which it was portrayed. The 
subject became a favorite in literature and in graphic art, and 
maintained a lasting popularity. The Pyladea amicitia was an 
ineffaceable type. One Polyidus, ‘the sophist,’ is named by Aris- 
totle as the author of an Jphigenia in which the recognition between 

brother and sister was cleverly brought about. Even 
eee heme 1 Sophocles, it would ear, deigned to be a fol 
by other e aged Sophocles, it would appear, deig - 
playwrights, lower with a tragedy entitled Chryses—a sort of sequel 

k : : : 

eee to the adventures of the three friends fleeing from the 

Taurian land; depicting once more the generous rivalry 
of the two cousins in the face of impending death at the hands 
of King Thoas, who had overtaken them in Chryses’ realm. The 
Sophoclean work furnished a model to Pacuvius, whose version (as 
Cicero relates) won vociferous applause in the theatre at Rome.? 

Numerous antique pictorial designs taken from this theme are 
Depicted still in existence, the most of them in accord with the 
upon gems; drama of Euripides. The subject appears to have been 
amphorae, ; ; ᾿ ᾿ ἢ 
sarcophagi, esteemed for the decoration of sarcophagi, whose ex- 
ce tended reliefs could depict the successive stages of the 





2Jaelius. qui clamores tota cavea nuper in hospitis et 
amici mei M. Pacuvii nova fabula! cum ignorante rege uter 
esset Orestes, Pylades Orestem se esse diceret, ut pro illo 
necaretur, Orestes autem, ita ut erat, Orestem se esse perse- 
veraret Cic. De amicitia vii. 24. 

qui clamores vulgi atque imperitorum excitantur in the- 
atris, quum illa dicuntur: 

Ego sum Orestes, 
contraque ab altero: 
Immo enimvero ego sum, inquam, Orestes! 


cum autem etiam exitus abutroque datur conturbato er- 
rantique regi: Ambo ergo una necarier precamur, quotiens hoe 
agitur,ecquandone nisi admirationibus maximis? Τα. De finibus 
V. xxii. 63.— See also ib. 11. xxiv. 79. 


CELEBRITY OF THE PLAY. 5 


event, from the frenzy of Orestes at the shore to the embarkation 
with the priestess and the idol. Vase-paintings show selected 
moments, notably that when Iphigenia delivers her letter into the 
hands of Pylades. Upon a cameo preserved at Florence, the three 
are seen in an attitude of repose near the altar. A Pompeian 
wall-painting of exquisite grace and dignity represents them at 
the close of their undertaking —Orestes and Pylades armed with 
sword and spear on either side of Iphigenia, who bears the effigy 
of the goddess.* 

Negatively considered, the Tauric Iphigenia is the most fault- 
less of Euripides’ extant tragedies. There remains not iene 
another one that is marred by so few of those grave lapses faultless 
from dramatic propriety and universal good taste to Furipidean 
which the poet’s mind was subject. It has the rare a 
merit of a complete and effective harmony of the parts, and the 
portraiture is remarkable for a wholesome consistency and balance, 
together with a pervading suggestion of reserved power. In truth 
the play is by all means one of the most charming of dramas, 
and especially well fitted, with its spirited adventure, thrilling sus- 
pense, and delightful happy ending, to captivate the minds of 
young and ingenuous readers. The clever Iphigenia is not soon 
forgotten, nor the noble friendship of the youthful pair — qui duo 
corporibus, mentibus unus erant.* And not only are the persons 








8 Convenient references for investigating this interesting branch of the 
subject may be found in Kinkel Luripides und die bildende Kunst, and Vogel 
Scenen Euripideischer Tragoedien in griechischen Vasengemiilden. 

4 The site of the Taurian temple is the modern Balaclava of warlike renown 
in the Crimea. Thence westward, also on the coast of the Euxine, was Tomi, 
the modern Kustendji, where the Roman poet Ovid ended his days in melan- 
choly exile. ‘Twice in the poems there written he relates the story of Orestes, 
with his usual felicity of expression, and for the most part closely following 
Euripides. 

nec procul a nobis locus est, ubi Taurica dira 
caede pharetratae spargitur ara deae. 
65 haec prius, ut memorant, non invidiosa nefandis 
nec cupienda bonis regna Thoantis erant. 
hie pro supposita virgo Pelopeia cerva 
sacra deae coluit qualiacumque suae. 
quo postquam, dubium, pius an sceleratus, Orestes 
70 exactus furiis venerat ipse suis, 


6 INTRODUCTION. 


winsome, but the scenes in which they move are touched with the 
romantic picturesqueness that adorns Euripidean song. Every- 
where we catch the fragrance of the salt spray of the ocean. In 
the foreground lies the weird and barren shore of the ‘ Inhospi- 





et comes exemplum veri Phoceus amoris, 
qui duo corporibus, mentibus unus erant, 
protinus evincti tristem ducuntur ad aram, 
quae stabat geminas ante cruenta fores. 
Τὸ nec tamen hunc sua mors, nec mors sua terruit illum; 
alter ab alterius funere maestus erat. 
et iam constiterat stricto mucrone sacerdos, 
cinxerat et Graias barbara vitta comas, 
cum vice sermonis fratrem cognovit, et illi 
80 pro nece complexus Iphigenia dedit. 
laeta deae signum, crudelia sacra perosae, 
transtulit ex illis in meliora locis. Tristia iv. 4. 


The following passage is the supposed narrative of an old man of Scythia: 


nos quoque amicitiae nomen, bone, novimus, hospes, 
quos procul a vobis ultimus orbis habet. 
45 est locus in Scythia, — Tauros dixere priores, — 
qui Getica longe non ita distat humo. 
hac ego sum terra (patriae nec paenitet) ortus: 
consortem Phoebi gens colit illa deam. 
templa manent hodie vastis innixa columnis, 
50 perque quater denos itur in illa gradus. 
fama refert illic signum caeleste fuisse: 
quoque minus dubites, stat basis orba dea: 
araque quae fuerat natura candida saxi, 
decolor adfuso tincta cruore rubet. 
δῦ femina sacra facit taedae non nota iugali, 
quae superat Scythicas nobilitate nurus, 
sacrifici genus est, —sic instituere priores, — 
advena virgineo caesus ut ense cadat. 
regna Thoans habuit Maeotide clarus in ora, 
60 nec fuit Euxinis notior alter aquis. 
sceptra tenente illo liquidas fecisse per auras 
nescio quam dicunt Iphigenian iter. 
quam levibus ventis sub nube per aera vectam 
creditur his Phoebe deposuisse locis. 
65 praefuerat templo multos ea rite per annos, 
invita peragens tristia Sacra manu: 
cum duo yelifera iuvenes venere carina, 
presseruntque suo litora nostra pede. 
par fuit his aetas et amor. quorum alter Orestes, 
70 alter erat Pylades. nomina fama tenet. 
protinus inmitem Triviae ducuntur ad aram, 
evincti geminas ad sua terga manus. 
spargit aqua captos lustrali Graia sacerdos, 
ambiat ut fulvas infula longa comas. 


THE LEGEND. 7 


table Sea,’ but the radiant distance behind its waves is never lost 
to sight. There shine the ‘city towers of equestrian Hellas,’ the 
‘fair waters of the Eurotas green with reeds,’ the ‘ many-folded 
glens of Phocis,’ dear to the huntsman and his dogs. Thither the 
yearning voices of exile and captive are breathed forth, thither at 
last the heaven-sped vessel turns her prow, and Pan’s music is in 
the piping breeze that wafts her homeward through the ‘ dark 


blue Symplegades.’° 


Tur LEGEND AND ITS GROWTH. 


Orestes, the son of Agamemnon and Clytaemnestra, saved by 
friendly hands at the time of his father’s murder,’ and aygument 
harbored until his majority at the home of his cousin of the play 
Pylades, the son of Strophius the Phocian, had slain his of urindee. 








75 dumque parat sacrum, dum velat tempora vittis, 
dum tardae causas invenit ipsa morae, 
‘non ego crudelis, iuvenes. ignoscite!’ dixit 
‘sacra suo facio barbariora loco. 
ritus is est gentis. qua vos tamen urbe venitis ? 
80 quove parum fausta puppe petistis iter?’ 
dixit. et audito patriae pia nomine virgo 
consortes urbis comperit esse suae. 
‘alteruter votis ’ inquit ‘ cadat hostia sacris: 
ad patrias sedes nuntius alter eat.’ 
85 ire iubet Pylades carum periturus Oresten : 
hic negat. inque vicem pugnat uterque mori. 
extitit hoe unum, quod non convenerit illis: 
cetera par concors et sine lite fuit. 
dum peragunt pulchri iuvenes certamen amoris, 
90 ad fratrem scriptas exarat illa notas. 
ad fratrem mandata dabat. cuique illa dabantur 
(humanos casus aspice !)’ frater erat. 
nec mora. de templo rapiunt simulacra Dianae, 
clamque per inmensas puppe feruntur aquas. 
95 mirus amor iuvenum, quamvis abiere tot anni, 
in Scythia magnum nune quoque nomen habet. Hx Ponto iii. 2. 


6 Once familiar with the antique play, the student will find himself pre- 
pared to relish perfectly the fine contrast served up by Goethe in his /phigenie 
auf Tauris, and will be enabled to estimate for himself the exact degree of 
spiritual amelioration that three children of nature can take on in three thou- 
sand years of development. 

6 According to Pindar the boy was rescued by his nurse, see foot-note.7. 
In Aeschylus Ag. 877 ff. Clytaemnestra herself sends him away before his 


8 INTRODUCLION: 


mother in obedience to an oracle of Apollo. Pursued by the Furies 
in consequence of this deed, a second oracle had directed him to 
Athens to be tried before the court of the Areopagus. Though 
acquitted by a tie vote, Orestes is still pursued by those Furies 
who do not acquiesce in the decision of the tribunal, and for the 
third time has recourse to the Delphian god. By a third oracle he 
is bidden to convey to Attica from the land of the Taurians the 
image of Artemis worshipped there, with the promise that his suf- 
ferings shall then cease. ‘The priestess of the Taurian Artemis, 
unwillingly in charge of the human sacrifices offered at her shrine, 
is Orestes’ sister Iphigenia, whom the world believed slain by her 
father as he set sail for Troy —ignorant of her miraculous deliy- 
erance by the goddess to whom she was devoted as a victim. 
Orestes and Pylades, arriving at the Taurian land in furtherance 
of their mission, are captured by the inhabitants, and in aecord- 
ance with the barbaric custom are consigned as victims to the 
priestess of the temple. Orestes is saved from sacrifice at his sis- 
ter’s hands by a timely discovery of their relationship, and together 
the three friends concert a plan of escaping to Hellas with the 
divine image. 





father’s return from Troy. In the Electra of Sophocles he is saved by an old 
and trusty serving-man with Electra’s aid, and similarly in Euripides’ /lectra. 
In the present play naturally nothing is said on this point, but Iphigenia 
speaks of her brother as an infant in arms at the time of her leaving home 
for Aulis. 

The name of Pylades’ mother, the sister of Agamemnon, was Anaxibia 
according to Pausanias 11. 294, see v. 918 of the play. ‘The following is the 
tree of Tantalus: 

Τάνταλος 


| 
Νιόβη Πέλοψ + Ἱπποδάμεια 


᾿Αερύπη + ᾿Ατρεύς Θυέστης 


Me oo A ee hoe tel 
Κλυταιμνήστρα + ᾿Αγαμέμνων Μενέλαος ᾿Αναξιβία + Στρόφιος 





| 
᾿Ιφιγένεια Ἠλέκτρα Χρυσόθεμις ᾿Ορέστης Πυλάδης 


EE ee 


THE LEGEND. 9 


Such are the outlines of the myth as shaped in the tragedy before 
us. A glance at the antecedent literature will reveal some Growth of 
of the steps by which it has reached this form, while cer- eer 
tain other phases of a popular and local character will be ary, partly 
brought to view by looking more closely into the play itself. PeP™ar. 

Both the sacrifice of Iphigenia and the matricide and remorse of 
Orestes, the two branches of the legend that unite in Euripides, are 
unknown to the Homeric poems. In the Odyssey, of the τὸς gorm in 
vengeance of Orestes we read that ‘ he came back from Homer. 
Athens and slew his father’s murderer, the crafty-minded Aegisthus, 
who killed his illustrious sire.’ That Clytaemnestra met her death at 
the same time for ber complicity in Aegisthus’ deed, is made clear in 
the same passage, but not that she fell by the hand of Orestes him- 
self. ‘ Having slain him,’ it continues, ‘he served a funeral-feast 
to the Argives over his hateful mother and the cowardly Aegisthus.’ 
It remained for the lyric poetry to give utterance to that Τῇ yyric 
spirit of doubting scrupulous reflection which suggests ἃ poetry. 


> 


conflict of duties in Orestes’ position, and by making him the slayer 
of his mother, as well as of Aegisthus, and delivering him over to 
the Furies, prepares the subject for dramatic treatment. Thus the 
Oresteia of Stesichorus of Himera was the precursor of Aeschylus’ 
great trilogy. The sacrifice at Aulis first appeared in literature in 
the Cyprian Lays, an epic of the Trojan cycle. We next 
find it in Pindar, who propounds the query whether the 
daughter’s death may have incited the wife to her crime, as in the 


Pindar. 


tragedies the murderess herself is made to plead. Moreover the 
refuge of Orestes is now Phocis, nigh to the Delphian temple, and 
no longer Athens, as in Homer. ‘The same Pindaric ode speaks of 
the Pythian victor whom it celebrates as conquering ‘in the rich 
lands of Pylades, friend of Laconian Orestes,’ and names the aged 
Strophius ‘ dwelling at Parnassus’ foot,’ to whom the child of Aga- 
memnon came, saved by his nurse Arsinoe ‘ from the stern hands 
of Clytaemnestra and her guile.’ Then in due time he ‘ slew his 
mother and left Aegisthus’ body in its blood.’? 


7The Homeric passage quoted is y 306-310. Aegisthus ruled Mycenae 
oe FCAT 5 τῷ δέ of ὀγδοάτῳ κακὸν ἤλυθε δῖος ᾿Ορέστης 
aw ἀπ᾿ ᾿Αθηνάων, κατὰ δ᾽ ἔκτανε πατροφονῆα, 


10 INTRODUCTION. 


Light of the thirty-two Attic tragedies still extant deal with this 
theme in one or both of its branches: the three plays 
forming Aeschylus’ Orestean trilogy (Agamemnon, Choe- 
phoroe, Eumenides), the Electra of Sophocles, and the Electra, 
Orestes, and the two Jphigenias of Euripides. The immolation of 
his daughter by Agamemnon is the immediate subject of the Iphi- 
genia at Aulis only, but it is employed as a motive in other plays, 
and the opening piece of Aeschylus’ trilogy contains a grand and 
moving lyrical description of the sacrificial scene.’ Clytaemnestra’s 


In tragedy. 








Αἴγισθον δολόμητιν, 6 οἱ πατέρα κλυτὸν ἔκτα. 
ἤτοι ὃ τὸν κτείνας δαίνυ τάφον ᾿Αργείοισιν 
μητρός τε στυγερῆς καὶ ἀνάλκιδος Αἰγίσθοιο. 


Pindar’s Eleventh Pythian: Thrasydaeus of Thebes won the foot-race as a 
boy ἐν ἀφνεαῖς ἀρούραισι Πυλάδα 
νικῶν ξένου Λάκωνος ᾿Ορέστα. 


25 τὸν δὴ povevouevov πατρὸς ᾿Αρσινόα Κλυταιμνήστρας 
χειρῶν ὕπο κρατερᾶν κἂκ δόλου τροφὺς ἄνελε δυσπενθέος, 
ὁπότε Δαρδανίδα κόραν Πριάμου 

30 Κασσάνδραν πολιῷ χαλκῷ σὺν ᾿Αγαμεμνονίᾳ 
ψυχᾷ πόρευσ᾽ ᾿Αχέροντος ἀκτὰν παρ᾽ εὔσκιον 

35 νηλὴς γυνά. πότερόν vw ἄρ᾽ ᾿Ιφιγένει᾽ ἐπ᾽ Εὐρίπῳ 

σφαχθεῖσα τῆλε πάτρας ἔκνισεν βαρυπάλαμον ὕρσαι χόλον; 

* * * * %* 

* * * * * * 

+ os = * * ὃ δ᾽ ἄρα γέροντα ξένον 

Στρόφιον ἐξίκετο, νέα κεφαλά, 

Παρνασοῦ πόδα ναίοντ᾽ - ἀλλὰ χρονίῳ σὺν “Ape 


σι 
OL 


πέφνεν τε ματέρα θῆκέ τ᾽ Αἴγισθον ἐν φοναῖς. 


8 Τὴ the parodos of the Agamemnon: Calchas has declared that Artemis de- 
mands the maiden’s blood, and the mental struggles of the king have been 
described. ἔτλα δ᾽ οὖν θυτὴρ 

905 γενέσθαι θυγατρός, 
γυναικοποίνων πολέμων ἀρωγάν, 
καὶ προτέλεια ναῶν. 


λιτὰς δὲ καὶ κληδόνας πατρῴους 
παρ᾽ οὐδὲν αἰῶνα παρθένειόν τ᾽ 
ἔθεντο φιλόμαχοι βραβῆ-. 

φράσεν δ᾽ ἀόζοις πατὴρ μετ᾽ εὐχὰν 
δίκαν χιμαίρας ὕπερθε βωμοῦ 
πέπλοισι περιπετῆ 

παντὶ θυμῷ προνωπῆ λαβεῖν 


bo 
uC) 
o 


THE LEGEND. 11 


plea that she has been prompted to kill her husband to avenge her 
daughter’s death appears in both Aeschylus and Sophocles, and 
furnishes a link of connection between Iphigenia’s fate and the 
struggles of Orestes that is drawn closer in the Euripidean work. 





235 


245 





s/ 4 { 

ἀέρδην, στόματός 

τε καλλιπρῴρου φυλακὰν κατασχεῖν 
φθόγγον ἀραῖον οἴκοις, 


βίᾳ χαλινῶν τ᾽ ἀναύδῳ μένει. 

κρόκου βαφὰς δ᾽ ἐς πέδον χέουσα 

ἔβαλλ᾽ ἕκαστον θυτήρων 

am ὄμματος βέλει φιλοίκτῳ, 

πρέπουσά θ᾽ ὡς ἐν γραφαῖς, προσεννέπειν 

θέλουσ᾽, ἐπεὶ πολλάκις 

πατρὺς κατ᾽ ἀνδρῶνας εὐτραπέζους 

ἔμελψεν, ayva δ᾽ ἀταύρωτος αὐδᾷ πατρὸς 

φίλον τριτόσπονδον εὔποτμον παιᾶνα φίλως ἐτίμα. 


The Iphigenias of Aeschylus and Sophocles have been lost, but the passage 
above quoted must have had its share of influence upon Lucretius in his fine 
lines of Book i. Iphigenia is here identified with Homer’s Iphianassa, I 145. 


95 


100 


religio peperit scelerosa atque impia facta, 
Aulide quo pacto Triviai virginis aram 
Iphianassai turparunt sanguine foede 

ductores Danaum delecti, prima virorum. 

cui simul infula virgineos circum data comptus 
ex utraque pari malarum parte profusast, 

et maestum simul ante aras adstare parentem 
sensit, et hune propter ferrum celare ministros, 
aspectuque suo lacrimas effundere civis, 

muta metu terram genibus summissa petebat: 
nec miserae prodesse in tali tempore quibat 
quod patrio princeps donarat nomine regem: 
nam sublata virum manibus tremibundaque ad aras 
deductast, non ut sollemni more sacrorum 
perfecto posset claro comitari Hymenaeo, 

sed casta inceste, nubendi tempore in ipso, 
hostia concideret mactatu maesta parentis, 
exitus ut classi felix faustusque daretur. 


Cf. Tennyson A Dream of Fair Women: — 


‘and turning [from the vision of Helen] I appeal’d 
To one that stood beside. 


But she, with sick and scornful looks averse, 
To her full height her stately stature draws ; 
“My youth,” she said, ‘‘ was blasted with a curse: 
This woman was the cause. 


12 INTRODUCTION. 


The story of the maiden’s deliverance by the goddess through the 
substitution of a hind, and her transportation to the Taurian land, 
there to live an immortal life, was contained in the Cyprian Lays 
and the Hesiodic Cutalogue of Heroic Women; but in tragedy, so 
far at least as existing plays are concerned, it is employed only by 
Euripides. The vengeance of the son, again, the holy crime, du- 
bium pius an sceleratus Orestes, exhibits an instructive variation of 
treatment in the tragic poets, as may be seen from a comparison 
of the Choephoroe with the two Electras. For our present purpose 
we have to compare, as regards this part of the subject, only the 
Eumenides and the Tauric Iphigenia. 

More than one noteworthy illustration of the tendenten to adapt 
ἘΠ dramatic themes to the local Attic variations of legend- 
in the Attic ary matter may be cited from the extant tragedies. Such 
drama, is the Oedipus at Colonus of Sophocles, that solemn and 
touching drama, the sightless Theban king finding in the evening 
of his life a refuge and a grave ‘ where the Attic bird trills her 
thick-warbled notes,’ — to become for all time a source of blessings 
to the dwellers in the land. So the Jon of Euripides ends in the 
exaltation of Athens, — Creusa, daughter of King Erechtheus, dis- 
covering her own child in the servitor of the Delphian temple, 
the youthful Ion, destined to be the founder of the Attic tribes 
and the Ionic race. But an eminent example, drawn from the 
myth we are now studying, is found in the Humenides, the trial of 
Orestes by Athenian citizens on the Hill of Ares, the conciliation 
of the Furies and their enshrinement hard by the judgment-seat 
as the ‘ Awful Goddesses,’ ‘ well-wishers’ to the folk of Pallas. 


“1 was cut off from hope in that sad place, 
Which yet to name my spirit loathes and fears: 
My father held his hand upon his face; 
I, blinded with my tears, 


“Still strove to speak: my voice was thick with sighs 
Asinadream. Dimly I could desery 
The stern black-bearded kings with wolfish eyes, 
Waiting to see me die. 


“‘The high masts flicker’d as they lay afloat; 
The crowds, the temples, waver’d, and the shore; 
The bright death quiver’d at the victim’s throat; 
Touch’d; and I knew no more.’’’ 


THE LEGEND. 13 


Euripides in his play touches upon some special features of the 
local myth that are not mentioned by Aeschylus, while at the same 
time he is forced to enlarge and modify the current tradition for 
the purposes of his plot. Thus we learn that the origin of a 
custom observed at the Dionysiac festival Anthesteria, a drink- 
ing-match in which each contestant drained off his one sepa- 
rate measure of wine in the midst of perfect silence, was referred 
to Orestes’ sojourn in Attica, when his hosts scrupled to spurn 
their suppliant entirely, but might not have speech of him nor 
serve him from a common wassail-bowl, by reason of his blood- 
guiltiness. So too the Athenian practice of interpreting a tie vote 
as an acquittal in cases of bloodshed is ascribed in this play to 
the precedent of Orestes, saved by Athena’s casting-vote of divine 
grace (calculus misericordiae). In the divided Euripides 
sentiments of the Furies, however, in the refusal of ἃ modifies the 
certain number of the sisters to abide by the decision rote. of 
of the tribunal, and the consequent further persecu- sojourn at 
tion of their victim, we probably have an innovation of Athens. 
Euripides’ own devising, in order to supply a motive for the 
mission which Orestes was popularly believed to have undertaken 
to the Taurian land.° 

There is still other local legendary matter of an interesting 
nature underlying the Tauric Iphigenia —a group of fr ae 
Attic traditions and observances, the contemplation of the nucleus 
which may have first prompted Euripides to compose the ° the play. 
play. They relate to an existing cult of Iphigenia, and her original 
association or identification with the goddess Artemis herself, and 





—— Ξ SS 


9 The silent entertainment, vs. 947 ff. Cf ἔστι δὲ καὶ ἑορτὴ ᾿Αθήνησιν οἱ χόες. 
κέκληται δὲ ard τοιαύτης αἰτίας. ᾿Ορέστης μετὰ τὴν τῆς μητρὺς ἀναίρεσιν ἦλθεν εἰς 
τὰς ᾿Αθήνας παρὰ τὺν Πανδίονα, συγγενῆ καθεστηκότα, ὃς ἔτυχε τότε βασιλεύων τῶν 
᾿Αθηναίων, κατέλαβε δὲ αὐτὸν εὐωχίαν τινὰ δημοτελῆ ποιοῦντα. ὃ τοίνυν Πανδίων 
παραπέμψασθαι μὲν τὸν ᾿᾽Ορέστην αἰδούμενος, κοινωνῆσαι δὲ ποτοῦ καὶ τραπέζης ἀσεβὲς 
ἡγούμενος μὴ καθαρθέντος αὑτοῦ τὺν φόνον, ws ἂν μὴ ard τοῦ αὐτοῦ κρατῆρος πίνοι, 
ἕνα ἑκάστῳ τῶν κεκλημένων παρέθηκε χοῦν. Schol. Ar. Hg. 95. 

The division of the Erinnyes, vs. 968 ff. The number of the sisters is not 
limited to three earlier than Euripides, nor by him in the present play, The 
conventional number appears in the Troades and the Orestes. 

The tie vote for acquittal, vs. 1469 ff. 


14 INTRODUCTION. 


to certain religious rites pertaining to the sinister and sanguinary 
functions of the moon-deity. 

‘There is a place in Attica,’ says the goddess Athena to Orestes 
Halae and ®t the close of the drama, as she speeds him and his 
Brauron. companions on their homeward voyage, ‘a sacred place 
ealled Halae by my people, on the borders of the land, neighbor- 
ing to the Carystian ridge. There do thou build a temple and 
establish this image, with a name commemorative of the Taurian 
land and thine own toils, which thou didst suffer by the Erinnyes’ 
mad chase round and round through Hellas. For men shall hence- 
forth celebrate her as Artemis Tawropolos."° And do thou also 
institute this rite: when the people hold her festival, let the knife 
be put to the neck of a man and blood drawn, to make good thine 
own sacrifice — for religion’s sake, and that the goddess may have 
honor due.’ Turning to the sister, Athena continues: ‘ But thy 
destiny, Iphigenia, is to be warder of the goddess’ temple by the 
holy terraces of Brauron. ‘There shalt thou be buried when thou 
art dead, and offering shall be made to thee of the fine garments 
that women expiring in childbed leave in their homes.’ ™ 

The attention of the Athenian spectator is thus turned at the 
The last upon familiar scenes, and he is made to feel that 
dramatic the exciting drama he has just witnessed was in truth 
eee but an episode in his own national and religious life. 
home tothe To the modern reader the passage is historically signifi- 
spectator. cant. It attests the existence of an ancient temple of 





10 ἐπώνυμον γῆς Ταυρικῆ 5 πόνων τε σῶν, 
1455 οὺὑς ἐξεμόχθεις περιπολῶν καθ᾽ Ἑλλάδα 
οἴστροις ᾿Ερινύων. ἤΑρτεμιν δέ νιν βροτοὶ 
τὸ λοιπὸν ὑμνήσουσι Ταυροπόλον θεάν. 


Artemis Tauropolos, “goddess of the kine” (cf. Soph. Aj. 172) was in fact 
distinct from the sanguinary moon-goddess of the Taurian people, but the two 
came to be identified, by one of the pranks of ‘language gone mad.’ Euripides 
in the passage quoted is not responsible for the confusion, but only for the 
precise form into which he here throws the play upon words. 

1 The whole passage vs. 1446-1467. The Halae meant is ‘AAal ᾿Αραφηνίδες, 
so named as belonging to the deme of Araphen, in distinction from ‘Adal Aigw- 
vides on the SW. coast near Athens. The former place is not far south of 
Marathon, on the coast opposite the southern extremity of Kuboea, as indicated 


THE LEGEND. 15 


Artemis Tauropolos at Halae Araphenides, containing an image of 
the goddess supposed to have been taken from the Taurians by 
Orestes, together with a symbolical rite indicative of an early 
custom of human sacrifice. It also notices a cult of Iphigenia at 
Brauron, the peculiar character of which points clearly to her iden- 
tification with the goddess of the moon. By the puzzling SiG: 
but not unfamiliar processes of mythology, the distinct logical 
divinities Artemis and Iphigenia become first identified t@zgle 

or combined, and then separated in such wise that the latter is 
viewed as ministrant to the former, one or another of these 
phases attaining prominence in this or that locality. Again, 
the sacrificing maiden becomes the maiden sacrificed, the divine 
or semi-divine is transformed into the human, Artemis-Iphi- 
genia appears as Iphigenia the daughter of Agamemnon, the usual 
Greek version of the Tauric legend exhibiting a fusion of both 
views.” 


by the words γείτων deipados Kapuorias vy. 1451. Brauron lies a little further 
south, away from the sea. It is enumerated by Strabo ix. 397 among the 
twelve ancient communities into which ne Attic population is said to have 
been apportioned by Cecrops. 

12 Venturing further into this labyrinth of aetiology, Agamemnon himself, 
the ‘red slayer’ who thought he slew, vanishes in a sun-myth— the inevitable 
Minotaur of mythological research. See Wecklein’s Hinleitung, p. 5. 

Herodetus iy. 103 calls the Taurian deity ‘the Maiden’ simply, and says 
the Taurians themselves declared that the goddess to whom they sacrificed 
shipwrecked Greeks, was Iphigenia the daughter of Agamemnon. The barba- 
rians must have derived this story from the Greeks. 

It is as the goddess of the moon (φωσφόρος θεά ν. 21), with her menstrual 
influence, that Artemis or Hecate comes to be the deity of childbirth (Apres 
Aoxeia). The original name of the Brauronian divinity was doubtless “Apreuis 
᾿Ιφιγένεια, an appellation known in other parts of Hellas, cf. Paus. 11. xxxv. 1. 
Perhaps the etymology of ig:-yev-e1a should be interpreted with reference to 
the function alluded to, v. 1466. 

Pausanias III. xvi. 7 speaks of the image at Brauron as that supposed to 
have been brought to Attica by Orestes and his sister. He relates that the Per- 
sians carried off the Brauronian effigy to Susa. Had Xerxes only got hold of 
the right ξόανον, the one that fell down from the sky among barbarians and 
was filched from them by enterprising Greeks, there would have been a cer 
tain poetic justice in its recovery, 


16 INTRODUCTION. 


Piotr anp Scentc ADJUSTMENT. 


Greek plays, as a rule, are characterized by extreme simplicity 
The plot of design. The present tragedy is comparatively elabo- 
not simple, Tate and complex in respect of the plot. To its finished 
but compli- intricacy of plan the play owes largely its unfailing 
cated. 5 

charm; and some of the secrets of the spell may be 
detected by the help of the pertinent observations in Aristotle’s 
Treatise on Poetry. ‘There are two essential features, by one or 
both of which the more ‘ complicated’ tragic plots, as defined by 
ἀναγνώρ-. Aristotle, are invariably marked. The περιπέτεια is a 
σις and sudden and unexpected change from good to bad for- 
περιπέτεια. tune, or the reverse. The ἀναγνώρισις is a change from 
ignorance to knowledge, generally as regards persons, for worse 
or for better. Intensity of interest, the philosopher maintains, 
depends upon these elements more than upon anything else in 
tragedy. Such plays as the Oedipus Tyrannus of Sophocles and 
the Iphigenia Taurica of Euripides, with their combined and inter- 
woven ἀναγνώρισις and περιπέτεια, are, he would say, ceteris paribus, 
the most fascinating of dramas,"—the one with its woeful, the 
other with its joyous, issue, but both equally ‘ tragedies’ in the 
ancient sense: the Theban ruler, hurled to infamy and despair 
from the very pinnacle of lordly power and magnificence, through 





18 τὰ μέγιστα οἷς ψυχαγωγεῖ ἣ τραγῳδία τοῦ μύθου μέρη ἐστίν, αἵ τε περιπέτειαι 
καὶ ἀναγνωρίσεις Arist. Poet. vi. The μῦθος or “ plot” is defined by Aristotle for 
this connexion as 7 τῶν πραγμάτων σύστασις OY σύνθεσις. ‘To the μῦθος he gives 
the first rank in importance in the composition of a tragedy, assigning a 
secondary place to the ἤθη (“character”). This dictum seems remarkable in 
view of the strongly inductive method of the Poetic on the one hand, and on 
the other hand the comparatively small number of ‘complicated’ plots among 
the tragedies that we possess. It explains the critic’s predilection for the 
Oedipus and the Iphigenia as illustrative examples — and yet these are the 
most modern of dramas in design. Aristotle, however, does not undervalue 
ethical portraiture; a characterless fiction was as odious to him as tous. He 
merely insists that the tragic poet starts to dramatize an event, not to repre- 
sent character. If the event be dramatized with genius, the appropriate char- 
acters are evolved as a matter of course. Nothing could be truer. Persons 
created for the sake of talking, and not because there is something for them 
to do, are wearisome on any stage, 


PLOT. 17 


the discovery of his own parentage and of the shocking unnatural 
crimes he has allowed himself in ignorance to commit; and, on 
the other hand, the much-tried son of Agamemnon, weary of life, 
and resigning himself to a cruel death, only to recognize a long- 
lost sister in the priestess at the blood-stained altar, and thus 
finally to crown with peace the sorrows of Pelops’ wretched line. 
Those tragedies in which an ἀναγνώρισις is to be expected are 
naturally the most powerful to enhance the attention of the spec- 
tator. In the first place, a condition of suspense is gen- 
erated in his mind, as he anxiously awaits the approach- 
ing inevitable discovery of the truth, and the consequent change 
of fortune; while, again, he is placed at an advantage as regards 
the persons of the play, knowing that of which they are ignorant, 
and looking pitifully down upon the groping victims of fate and 
circumstance. The poet will aim to prolong and gradually to inten- 
sify the suspense of his auditors, by means of a steady convergence 
of the lines of action toward the point of dvayvwprors, its actual 
consummation being deferred until the latest possible moment. At 
the same time he will bring the various kinds of dramatic 
irony to bear upon their thoughts. In our play the spec- 
tator is introduced first to Iphigenia. He learns of her office as 
ministrant to the barbaric deity, of her loathing for the inhuman 
rites over which she is constrained to preside, and he hears from 
her lips the recital of her dream. A dream has convinced her 
that her brother Orestes — he upon whom so many of her yearn- 
ing thoughts and vague hopes have been centred —is no longer 


Suspense. 


Trony. 


among the living, and she has summoned her attendants to assist 
in pouring a libation to his shade. ‘The spectator’s knowledge 
of Iphigenia’s delusion in supposing her brother dead illustrates 
the simplest form of dramatic irony; and one of its first effects 
is to modify in a singular way the pathos of the ceremony that 
presently follows, — the mortuary offering, with the dirge chanted 
by Iphigenia and her maidens for Orestes’ soul. The same 
irony is at work again when Orestes and Pylades are 
Fae : . Both effects 
seen reconnoitring the temple, not dreaming who is present 

priestess there. Their entrance institutes the second of early in 

the convergent lines of dramatic action, — parallel lines cae ἀ 


18 INTRODUCTION. 


at the outset, we should perhaps call them, but productive of sus- 
pense, as pointing, however vaguely, to an ultimate recognition 
and reverse. 

A second stage in the development of these spiritual impressions 
on the part of the spectator is reached when the capture 


Intensified : . : 

ἘΠΕ of the youths is reported to Iphigenia, and she muses 
aes on their impending fate, presently to be fulfilled through 
proceeds, 


her own instrumentality. ‘ Poor heart! once wast thou 
toward victims ever unrufiled and compassionate, meting out to 
kindred race the bounty of a tear, so oft as men of Hellas fell into 
thy hands. But now, such is the dream that has embittered me, 
telling me that Orestes lives no more, hard-hearted will ye find 
me, ye new-comers, whoever ye may be!’ Thus on the one occa- 
sion of sorest need for the humane sympathies of the priestess, 
she misinterprets the dream, which, if read aright, would have 
been a warning to her;’* and her generous impulses seem to be 
deadened by the intensity of her regret for the very person who is 
immediately to require them, and who properly should, above all 
other men, call forth their exercise. The spectator is stirred with 
apprehension in view of the possible results of Iphigenia’s attitude. 
There is a heightened stress of both suspense and irony. 

Tragic irony of the sort just considered is a privilege of the poet 
THAR and his auditors at the expense ὧι all the personages of 
tator atan the drama without exception. It is illustrated even in the 
advantage choral ode that fills the interval before the expected vic- 
ee tims are led into the presence of the priestess. The specta- 
dramatis — tor might answer well the question, ‘ What Greeks are they 
person’ ho have come to the Unapproachable Land?’ And he 
is thrilled with a hope that to the chorus themselves is but a hope- 
less fancy, as they sing, ‘How sweet the tidings, had but some mari- 
ner from Hellas come, to end the weary servitude of miserable me !’ 

The above remarks will serve to guide the student in tracing 
further effects of suspense and irony in the masterly scene of 





14 The spectator naturally interprets the dream vs. 44-55 of the impending 
event, not (like Iphigenia) of something supposed to have already occurred. 
— The passage quoted is vs. 344-350, the lines paraphrased in the next para- 
graph, vs. 399 ff., 447 ff. 


ἜΠΟΣ 19 


Orestes and Pylades as doomed victims before Iphigenia. The 
ἀναγνώρισις contained in this scene must now be considered, form- 
ing as it does the most significant feature of the passage, and, 
indeed, the turning-point of the whole drama. With the yethod of 

utmost dexterity and naturalness, the recognition between the ava- 

brother and sister, repeatedly brought to the verge of 7”? 

consummation, is repeatedly withheld and prevented, and yet 
is steadily approached by irretrievable steps. The discovery of 
Iphigenia to Orestes is of the sort pronounced by Aristotle the 
most artistic, as being a direct outcome of the dramatic action, 
producing its startling effects through a series of wholly probable 
occurrences.” It is the comely presence of the youthful pair, 
whom she takes for brothers, that recalls Iphigenia to her wonted 
sympathy and tenderness of heart. The singular mood and bear- 
ing of Orestes, — him of whose delirium she has heard so strange 
a tale; the demeanor manifested by the life-weary, remorseful 
man, in his response to her expressions of pity, —this it is that 
arouses her curiosity, brings out the fact that he is a native of 
Argos, and leads to the conversation upon affairs in Greece, 
whereby she learns the deplorable deaths of father and mother, 
yet that Orestes lives! ‘False dreams, farewell!’ Then follows 
the proposal of the letter which Iphigenia has long wished to 
despatch to Argos, as now it may indeed be conveyed by one 
of the captives before her, his life to be spared in compensa- 
tion for the errand. And next, after the contest of friendship, 
ending in Orestes’ victory, comes the exquisite moment when 
Pylades, doomed to live and bear the missive, demanding an oral 
statement of its contents against the possible loss of the tablet in 
the waves, hears the astounding revelation, and redeems on the 
spot his happy pledge of faithful messenger, — ‘ Orestes, a letter 


from thy sister here !’ 
16 πασῶν δὲ βελτίστη ἀναγνώρισις 4 ἐξ αὐτῶν τῶν πραγμάτων, THs ἐκπλήξεως 
γιγνομένης δι᾿ εἰκότων, οἷον ἐν τῷ Σοφοκλέους Οἰδιπόδι καὶ τῇ ᾿Ιφιγενείᾳ " εἰκὸς yap 
βούλεσθαι ἐπιθεῖναι γράμματα. Arist. Poet. χνὶ. ---- Τὸ is to illustrate one of the 
methods of ἀναγνώρισις, the sort by ‘reasoning’ (ἐκ συλλογισμοῦν), that the 
work of Polyidus ‘the sophist’ is cited, where the discovery of Orestes to 
Iphigenia resulted from the natural reflection by the former that ‘his sister 
had been sacrificed, and now it was his own fate to be sacrificed likewise.’ 


20 INTRODUCTION. 


Through the mutual recognition of the friends, the περιπέτεια is 
clearly instituted. A single turn of the wheel of fortune has shifted 
the whole vista before the sad eyes of the Pelopidae. Their 


δέσις 
and new joy half blinds them to the common-place trials that 
Rots. still beset their path. Thus far, the threads of the drama 


have been steadily drawn.closer and closer, but now the time has 
come for the reversed process, the untying of the knot. There is 
a brief neutral period, occupied by the spontaneous outflow of feel- 
ing natural to the occasion; the transition to the dénouement is 
marked by the intervention of Pylades, who recalls his rapt com- 
panions to their senses, and reminds them of the grave task that 
awaits their hands.” All danger is indeed not over, though the 
horrors be past that were to be apprehended from the nearly fatal 
misunderstanding among the loved ones themselves. In the solu- 
tion of the impending difficulties the poet has contrived so to retard 
the action that the spectator’s suspense is not suddenly relaxed, 
though modified in quality. Moreover, the stratagem directed by 
the wily Greeks against the unsophisticated foreign king affords an 
opportunity for a new phase of dramatic irony. The plain but 
deeply effective irony that consists in the superior knowledge of 





16 Pylades’ words, vs. 902-908.— The terms δέσις (or πλοκή) and λύσις are 
employed by Aristotle, λέγω δὲ δέσιν μὲν εἶναι τὴν am ἀρχῆς μέχρι τούτου τοῦ 
μέρους ὃ ἔσχατόν ἐστιν, ἐξ οὗ μεταβαίνειν εἰς εὐτυχίαν. .., λύσιν δὲ τὴν ἀπὸ τῆς 
ἀρχῆς τῆς μεταβάσεως μέχρι τέλους Poet. xvi. — Interesting is a remark in the 
same chapter to the effect that many poets tie their knot with success, but 
make a failure in the untying, πολλοὶ δὲ πλέξαντες εὖ λύουσι κακῶς, 1.e. AS WE 
should say, they do not show themselves capable of sustained work. The Iphi- 
genia is admirably sustained, considering the height that is reached in the 
scene of recognition. Patin tudes sur les Tragiques Grecs iii. 298 finds fault 
with the poet for letting the spectators into the secret of the plan of escape 
beforehand, instead of surprising them by the representation of its execution 
only. He also deems it too certain of success to command interest. The plan, 
however, is proved by the sequel to have been hazardous enough, and as for 
the credulity of Thoas, I find it well-grounded, as it is certainly delectable. 
As the play stands, the spectator has the satisfaction of identifying himself 
from the first with the framers of the stratagem: he seems to be helping them 
to think it out, as he hears it unfolded; he shares their anxiety for its safe 
issue; enjoys with them (probably more than they) the first successful trial 
of it upon the king; and finally is left in suspense during the stasimon that 
follows, until the messenger arrives with his story of the finish. 


ΠΥ ΎΨ ΝΣ —— 


—“—_ —_—_ —- 


ἜΠΟΣ . il 


the spectator to that of all the personages, is necessarily present 
to some extent in every dramatic work. There is also a Irony of 

subtle verbal manifestation of the same principle, which equivoke, 

was relished with high zest by a Greek audience. It is exercised 
by the persons represented, at the expense of each other, as one 
set plays upon the ignorance of a second by means of equivocal 
utterances, whose ambiguous meaning is apparent to the spectator, 
but not to the party for whose hearing it is. intended. Or some- 
times the victim is himself the unconscious mouthpiece of this irony 
of the double tongue, letting fall words that knell ominously to 
initiated ears. ‘A clever child of Hellas thou!’ exclaims Thoas, 
when apprised by Iphigenia of her alleged means of discovering a. 
source of pollution to the goddess and her temple. And as the 
priestess bearing the idol passes forth, followed by the veiled cap- 
tives, to perform, as Thoas supposes, the solemn rite of lustration, 
but in reality to take ship and transport the divine image to a 
Grecian home, Iphigenia thus prays in the hearing of the Taurians : 
‘Thou daughter of Zeus and Leto, virgin queen, if indeed these 
guilty stains I wash away and do sacrifice where it is meet, pure 
shall be thy dwelling-place and happy mine own lot.’ What the 
barbarian understands of the priestess and her charge, duly rein- 
stated in the purged temple, means to the spectators of the scene 
Athens and the deliverance of Iphigenia. The prayer concludes: 
‘The rest, though I say it not, I betoken clear to Heaven that 
knoweth the unsaid, Ὁ Goddess, and to thee.’'” Here, the gods, 





1 Vs. 1230 ff.; the exclamation of Thoas y. 1180. Attention is called in 
the notes to the other equivocal expressions in the scene. — The term irony, as 
employed in this Introduction, was perhaps first systematically applied to dra- 
matic matters by Bishop Thirlwall On the Irony of Sophocles, in the Philological 
Museum, 1833, vol. ii. No better word could be found to connote the various 
phenomena through which this deep-seated principle of dramatic and indeed 
all artistic fiction manifests itself. The propriety of its application is seen 
from Aristotle’s plain definition, προσποίησις ἡ μὲν ἐπὶ τὸ μεῖζον ἀλαζονεία καὶ ὁ 
ἔχων αὑτὴν ἀλαζών, ἡ δ᾽ ἐπὶ τὺ ἔλαττον εἰρωνεία καὶ εἴρων Eth, N. 11. vii. 12. Thus 
εἰρωνεία is the attitude of him who knows more than he will say, the attitude 
appropriate to superior knowledge and the power vested in superior knowledge. 
We speak of the ‘irony of fate,’ implying the existence of some possessor of 
a prescience competent to save us from our now inevitable ills. Irony is a 
feature of primitive religious conceptions; and its most incisive exemplification 


22 INTRODUCTION. 


the Greeks, and the spectator stand on a common vantage-ground, 
over against the Seythian wrecker with his sacrifices of men. 
Aristotle has a word to say of the care to be exercised by the 
tragic poet in adjusting the details of his plot to the exigencies of 
the stage. In truth the ancient playwright labored under 


Stage 
require- restrictions which, at times, must have seriously ham- 
ORES pered him in the work of composition. The number of 


regular actors being limited to three, with strict gradation as to 
rank, the poet was forced to suit this circumstance as best he 
could in distributing the parts and arranging the succession of dia- 
logues. One cannot but admire the tact often displayed in meet- 
ing these requirements. In the present tragedy, the protagonist 
Dein performed the parts of Iphigenia, who appears in every 
tion ofthe scene but two, and Athena. The deuteragonist had the 
Pash parts of Orestes, the herdsman who relates the story of 
the capture to Iphigenia, and the messenger who reports to Thoas 
the escape. The tritagonist, finally, played Pylades and Thoas. 
The poet was also obliged to adapt his work to certain traditions 
of the theatre regarding scenery, entrances and exits, and the like, 
necessary for the guidance of the spectator. <A disregard of these 
simple conventionalities, in any essential point, might produce the 
effect of inconsistency or impossibility ; as for example, the Athe- 
nians are said to have hissed a tragedy of Carcinus, because his 
Amphiaraus was found to have gone out of the temple which he 
had entered, without being seen by the spectator to leave it." Our 





is found behind Greek literature, in the Greek oracles. The Delphian god 
knew perfectly well who were the real parents of Oedipus, and in what direc- 
tion the anxious inquirer ought to have turned his steps as he departed from 
the shrine, in order to avoid the fearful consequences of which he was warned. 
So in admonishing Croesus that by crossing the Halys he would destroy a 
great empire, Apollo with irony left it to Croesus in person to find out by 
trying, which great empire —his own or that of Cyrus —he should destroy. 
Thirlwali well describes the dramatic poet as so working ‘that a faithful image 
of human existence may be concentrated in his mimic sphere. From this sphere 
he himself stands aloof. The eye with which he views his microcosm. . . will 
be that with which he imagines that the invisible power who orders the destiny 
of man might regard the world and its doings.’ 

18 δεῖ δὲ τοὺς μύθους συνιστάναι καὶ TH λέξει συναπεργάζεσθαι OTL μάλιστα πρὸ 
ὀμμάτων τιθέμενον - οὕτω γὰρ ἐναργέστατα ὃ ὁρῶν, ὥσπερ παρ᾽ αὐτοῖς γιγνόμενος 


— 


ΕΜ ΕΓΟΣ 28 


present knowledge, however, of the details of ancient stage arrange- 
ment is very imperfect, and we are left largely to conjecture as to 
their flexibility of adaptation to plays of peculiar and unusual 
design. In the Iphigenia, the back-scene represents the 
temple of the Taurian Artemis, with the high altar in 
front. Iphigenia, who as priestess occupies apartments in the 
temple, enters and withdraws by the main door appropriate to the 
protagonist. The chorus enters the orchestra by the fatrances 

parodos on the right of the spectator, that is, from the 4 exits. 

home-side. The other entrances and exits are uncertain, but we 
incline to the view that Orestes and Pylades, foreigners on a fur- 
tive errand, approach the scene from the left, and go out the same 
way, after reconnoitering the temple. The herdsman who announces 
their capture also enters from the left, from that side the victims 
are led in to the priestess, and on that side the lustral procession 
departs for the remote and lonely shore desired for the ceremony 
—where the ship of Orestes is moored in concealment. But Thoas 


The scene. 





τοῖς πραττομένοις, εὑρίσκοι Td πρέπον, kal ἥκιστα ἂν λανθάνοι τὰ ὑπεναντία. σημεῖον 
δὲ τούτου ὃ ἐπετιμᾶτο Καρκίνῳ - 6 yap ᾿Αμφιάραος ἐξ ἱεροῦ ἀνήει, ὃ μὴ ὁρῶντα ἂν 
τὸν θεατὴν ἐλάνθανεν, ἐπὶ δὲ τῆς σκηνῆς ἐξέπεσε, δυσχερανάντων τοῦτο τῶν θεα- 
τῶν. Poet. xvii. 

The arrangement of entrances and exits assumed above implies a possibility 
of communication imagined between the right and left sides, in the rear of the 
temple, since the prisoners are taken directly to the king, without first crossing 
the stage, and the herdsman comes at one and the same time both from the 
king and from the scene of capture (cf. vs. 256, 353 f.). Such communication 
is not precluded by the fact that the sea flows up to the temple (v. 1196) ; it is 
pedantical to press that circumstance so closely. Schoenborn, Skene der Hel- 
lenen, however, is led by this consideration to place nearly all the stage-entran- 
ces on the left, while Wecklein places them all on the right, giving the further 


_ reason that persons coming from abroad by sea regularly enter on that side. 


Even if the evidence on these matters were fuller and clearer than it now is, I 
should hesitate to believe that in a tragedy like the [phigenia a completely 
one-sided arrangement of entrances would have been tolerated by the spec- 
tators. In this play the sea is everywhere, it lies on the left as well as on the 
right, but the parts of it with which the action is most concerned are remote and 
hidden. A regular city port (τὰ ἐκ πόλεως, μάλιστα τὰ ἐκ λιμένος) is not to be 
thought of, at least on the side whence the two interlopers make their appear- 
ance. Probably the shore was not represented at all in the scenery. ‘That 
Orestes and Pylades have come by ship is made known at once (vy. 70); the 
spectator is not left to infer that from the direction of their entrance, 


24 INTRODUCTION. 


enters on the right, the home-side, on which his residence is con- 
ceived as lying. The temple should be regarded as so placed that 
its votaries might approach it from either side. 


ARTISTIC STRUCTURE. 


The Greeks have furnished the instruments for probing and 
dismembering the productions of their own genius. 


Critical 

theories Greek tragedy, in particular, after giving to the world 
wonky a perfect model, in the most tangible form, of what is 
induction 5 


from Greek essential to a highly composite work of art, called forth 
ual among the ancients themselves the exuberant satire and 
the incisive logical analysis from which modern criticism has been 
Instructive- learned. ‘The works of Euripides form a most instruc- 


a ἐν , tive body of concrete material for the test and illustra- 
urlp1ldes . eae . 

erine tion of critical theory. Reflecting as they do the move- 
ties. ments of a transitional period not only in matters of art, 


but in the history of human thought; and emanating from a mind 
in which the synthetic impulses of the poet were liable to frequent 
disturbance by conscious speculative ratiocination; unequal in 
themselves and among themselves, yet bearing the common im- 
press of an unmistakable individuality, they alternately delight 
and repel the reader, as they furnish the very contrasts whereby 
their faults and merits are most vividly revealed. It is a pleasant 
task to scrutinize, as we have to do at present, the structure of a 
play marked by the minimum of defect; in which the best and 
truest, if not the most strongly characteristic, side of the author’s 
genius is turned outward. 

If the study of the Greek drama were to be historically conducted, 
that some familiarity with Aeschylus and Sophocles might be ac- 
quired before passing to Euripides, the learner’s attention would 
be arrested on first taking up a work of the younger poet by the 
Barinidean strangeness of its beginning. Paradoxically stated, the 
prologue, Spectator of a Euripidean tragedy has to sit out a portion 
vs. 1-66. of the performance before the performance begins. The 
first forty-one lines of the Jphigenia form no part of the dramatic 
proceedings. They assume an audience, and are addressed imme- 


ARTISTIC STRUCTURE. 25 


diately to the spectator, for the purpose of instructing him in 
regard to the antecedent legendary history and the situation of 
affairs at the opening of the play. The remainder of Iphigenia’s 
speech, containing the recital of her dream, is less open to censure, 
because the dream with its influence is directly concerned with the 
action, and moves the priestess to unburden her mind under the 
open sky. ‘There is also a motive for her appearance in the sum- 
mons that has been issued to her attendants, whose coming she 
expects. But the whole passage is inorganic. ‘The better part of 
it might have been thrown into the form of a dialogue, like that 
between the two sisters at the beginning of Sophocles’ Antigone ; 
or else the play should have opened where its action really begins 
now — leaving the information which has been thus explicitly prof- 
fered in advance to be conveyed indirectly through the progress of 
the drama itself. Implicitness is the very soul and conscience of 
serious dramatic workmanship; and the Euripidean prologue 
is none the less flagrant an offence against principle and good 
taste because it came to be tolerated as a convenient trouble- 
saving device. Loose innovations of this character soon be- 
come settled habits. Except for the habit, the present tragedy 
would hardly have taken on such a gratuitous appendage. The 
play is so finely constructed that with but the slightest further 








19 The business of tragedy is serious representation (μίμησις πράξεως σπου- 
datas). Comedy, which is not serious — however much in earnest the comic 
poet may be—is always conscious of an audience, and may at any moment 
deliberately interrupt the illusion of the scene to address the spectator, for 
the sake of ludicrous effect or for any other reason. But we do not find 
the Greek comedies beginning with an explicit address to the audience, before 
any scenic illusion has been started, because that would produce no incon- 
gruity, and, unless a distinct parody, would not be funny, but only flat. It is 
this flat tastelessness at which Aristophanes really aims when he opens fire 
upon the monotonous genealogical detail in the prologues of Euripides (τὸ 
γένος τοῦ δράματος Ran. 946) Ach. 47 ff., Ran. 1177-1247. The lekythion passage 
has nothing to do with any peculiarity in Euripides’ verse; the ληκύθιον ἀπώλε- 
σεν would apply just as well to Aeschylus or Sophocles, as far as the metre is 
concerned; but, as it happens, it does not fit on to the beginning of one of 
their extant plays, because not one of them begins with the name of a man, 
woman, or child in the nominative case. 


26 LNT OD GT CALTON. 


elaboration the idle preface might have been replaced by an 
organic scene.” 
All things are particularly exposed to corruption at their extremi- 


neveier ties. Of a piece with the otiose prologue is the interven- 
machina. ing god, who is prone to intrude himself under one form 


or another at the close of a Euripidean tragedy. The comment of 
Aristotle is simply that the solution of a plot ought to be an out- 
come of the plot itself and should not be effected by stage- 
machinery. But recourse may be fairly had to supernatural 
agency, he goes on to say, in regard to matters either anterior 
or subsequent to the action of the drama.*! The intervention in 
the Iphigenia is due in but slight measure, as was remarked of the 
prologue, to want of elaboration or poverty of invention. There 





» The passage criticised forms only a part of the πρόλογος, which includes 
the dialogue of Orestes and Pylades. The technical divisions of the play are 
exhibited in the table below. ‘The names are derived from Arist. Poet. xii., 
and it is to be noted that they all have reference to the chorus, the original 
nucleus of tragedy. The parodos is its first song on entering the orchestra ; 
the other odes of the entire chorus are called stasima. The prologos is all that 
precedes the parodos, the epeisodia are the acts that intervene between the 
stasima, and the exodos is what follows the last stasimon. A ‘commos’ is a 
lamentation in the form of a lyrical dialogue between actor and chorus. Lyri- 
cal passages of actors only are called ‘songs from the actor’s station.’ Nine 
is the normal number of main divisions of a tragedy. 


I. πρόλογος, vs. 1-122. 
Il. πάροδος, vs. 128-235. 
(κόμμος, vs. 145-235.) 
Ill. ἐπεισόδιον πρῶτον, vs. 256-391. 
IV. στάσιμον πρῶτον, vs. 392-455, 
V. ἐπεισόδιον δεύτερον, vs. 456-1088. 
ἀνάπαιστοι κορυφαίου, vs. 450-400. 
κόμμος, VS. 643-656. 
μέλος ἀπὸ σκηνῆς, vs. 827-899. 
VI. στάσιμον δεύτερον, vs. 1089-1152. 
VIL. ἐπεισόδιον τρίτον, vs. 11538-1253. 
VIII. στάσιμον τρίτον, vs. 1254-1285. 
IX. ἔξοδος, vs. 1284-end. 


21 φανερὸν οὖν ὕτι καὶ Tas λύσεις τῶν μύθων ἐξ αὐτοῦ δεῖ τοῦ μύθου συμβαίνειν, 
καὶ μὴ ὥσπερ ἐν τῇ Μηδείᾳ ἀπὸ μηχανῆς . . . ἀλλὰ μηχανῇ χρηστέον ἐπὶ τὰ ἔξω 
.-- ΄ «“ “ / os > 7 y In 7 rR ¢ “ 
τοῦ δράματος ἢ boa πρὸ τοῦ γέγονεν, ἃ οὐχ οἷόν τε ἄνθρωπον εἰδέναι, ἢ boa ὕστερον, 


᾿ 


ARLISTIC STRUCTURE. 20 


are, however, in reality ¢wo resolving agencies extraneous mien 
to the plot. Besides Athena, who is introduced to check jnterfer- 
the vengeance of Thoas, save the captive women, speed °° 

the heroes on their return, and foretell the sacred honors that 
await them on Athenian soil — besides the gracious divinity of the 
formal close, there is the ‘refluent billow’ (vy. 1397) that tosses 
back the flying ship with its brave crew into the very hands of the 
baffled Taurians, who thank Poseidon, the enemy of Troy’s con- 
querors, for their luck. It jars the intent and sympathizing spec- 
tator, who has watched the shrewd manceuvres of Iphigenia, and 
has seen the youths through their unequal fight at the shore and 
their spirited embarkation and start, to be thus rudely put about 
by such a perfectly unexpected gratuitous dash of wind and water. 
For this secondary deus, however, the Goddess in chief is responsi- 
ble. Poseidon is here in the service of ‘Athena, and the motives 
of the concluding scene must be severally examined, in order to 
judge of it rightly as a whole. 

The poet appears to have been influenced by three considera- 
tions: first, a feeling that the oracle of Apollo, ordaining Three 
the removal of the image, ought not to seem fulfilled motives for 
through stratagem and theft; second, a regard for the bce 
promise made to the captive women, that they should be vention. 
restored to Hellas and freedom; third, the desire to introduce the 
prophecy concerning Attic institutions, whose origin is traced to 
the events of the drama. 

That the first-mentioned consideration was sensibly felt, is clear 
from the uoubts expressed by Iphigenia herself (vs. 995, ΓΙ 
1400). Orestes’ answer to his sister’s scruples is sincere oracles not 
(vs. 1012 ff.), and, naturally, satisfactory to himself and ae 
Pylades ; but it is highly creditable to Euripides that he eae 
should not haye allowed the priestess summarily to dis- deceit. 





ἃ δεῖται προαγορεύσεως καὶ ἀγγελίας. ἅπαντα γὰρ ἀποδίδομεν τοῖς θεοῖς ὁρᾶν. Poet. 
xv. Of. Horace’s celebrated epigrammatic statement of the principle : 
nec deus intersit, nisi dignus, vindice nodus 
inciderit. De arte poet. 191. 
The last part of Aristotle’s remark applies exactly to the third motive treated 
above. 


28 INTRODUCTION. 


miss the scruple from her mind, and likewise that he should have 
deemed the barbarian ruler entitled to the satisfaction of hearing 
the divine sanction. Indeed, the enlightenment of Thoas is even 
artistically required. Barbarian or Greek, — and Thoas was, after 
all, created only half a Taurian,—the spectator would like the 
man brought to see that something higher than mere human trick- 
ery had been put upon him. Yet nothing short of a celestial man- 
date could ever have convinced the king.” 

As regards the second motive, again, the necessity of delivering 
Senpathy the chorus, it is hard to see how fae end could have 
for the been reached by human agency within the lines of the 
chorusas = nlot. And yet, even apart from the rash promise of 
Se Iphigenia (v. 1068), to abandon the faithful creatures 
to their fate would have been intolerable. The knot must be 
untied, and only a god is competent to untie it. It were hyper- 
critical to censure this, for the fault, if it be one, is the result of a 
certain organic excellence. We fancy that Euripides himself must 
have been touched with surprise as often as he found a chorus 
upon his hands for whose fate the most humane of audiences would 
feel the least concern. 

The desire to gratify local patriotic and religious sentiment is 
Gratifica, the leading motive for the entrance of Pallas Athena. 
tion of local The motive is also characteristic of the poet, and nowise 
sentiment: —yeprehensible as the result of any shortcomings of artistic 
construction. The modern reader cannot adequately reproduce 
the feelings stirred by this final scene in the Athenian spectator’s 
breast. We may, however, so far sympathize with the poet who 
indulged them, as not to find distasteful the local flavoring which 
is here and elsewhere so perceptible in Attic tragedy, with all its 
splendid universality. Even on the score of unity, the three mo- 





22'The situation at the end of the Pahiloctetes of Sophocles is similar, if by 
any effort Thoas and Philoctetes can be thought of at the same moment. 
There, however, it is shown naturally by the course of the drama itself that 
the oracle is not to be fulfilled by the help of human deceit, since one of the 
participants in the theft is led to repent, after successfully achieving it, and 
makes amends by giving back the bow to its owner. Here, the interruption ta 
the final success of the stratagem is extraneous and violent, as we have seen. 


‘ 


a 


ΕΓ SUROCTURE. 29 


tives are so closely interwoven, and the whole ending is so firmly 
knitted on to the body of the play, that we forget Poseidon’s rude- 
ness and enter genuinely into the refined and beneficent spirit of 
the conclusion.” 

Narratives of messengers, the most familiar embodiment of the 
strongly marked epic element in all Greek plays, assume Epic 
renewed importance in Euripides. How high a place in element. 
the dramatic economy was originally held by mere narration, is 
indicated by the earliest tragedy of known date which The ῥῆσις 
we possess, the Persians of Aeschylus (472 B.c.), with ἀγγελική. 
its scene laid at the Persian capital, and Hellas for the background 
of events. The epic element exhibits great variety both in form 
and extent, as we compare the extant tragedies with one another, 
until we find a fixed type in the later works of Euripides. Incom- 
parable specimens, it is true, may be cited from the Soph- σου ίδαν 
oclean drama, yet the ῥήσεις ἀγγελικαί of the younger ons in 
poet were admired in proportion as they were character- Euripides. 
istic and plainly the result of a strong predilection and aptitude. 
Besides the rapidity, naturalness, and graphic energy of the de- 
scriptions, the admirable clearness of the Euripidean style helped 
them to a deserved popularity. The performances in the orchestra 
had shrunk to such narrow dimensions as to leave room for any 
sort of amplification on the actor’s part. The tendency towards 
realism also would naturally enlarge the function of the messenger 
in the drama. The ancient theatre, with its burden of conven- 
tional and mechanical restrictions, afforded slight opportunity for 
the scenic representation of any complicated action, however wel- 
come such spectacles might have been to the public. Their place 
must be supplied by spirited narration. Hence, in passing from 
the ἠθοποιία of Sophocles to the scenes of romantic adventure of 
which our poet latterly became so fond, we find the discourse that 
mirrors each performer’s whole inner play of thought and impulse 
dividing the ground with vivid recitals of their deeds. 


23 A deus ex machina for the sake of Thoas and the chorus only, would have 
seemed highly crude and forced. It is better that the first two motives should 
be merged as they are in the third and inoffensive one. It is pleasant to see 
Athena with her hands so full of really important business. 


90 INTRODUCTION. 


The messenger’s narrative in most tragedies concerns the events 
eae of the catastrophe, less commonly the earlier part of 
for both the action. In the Tauric Iphigenia, as likewise in the 
ders and = HTelen and the Bacchantes, there is a messenger both 
oes before and after the περιπέτεια. 

The first of the two narrations occurs in the first epeisodion — 
See ee the event with which it is concerned, the capture of 
tion, vs. Orestes and Pylades by the Taurians, forming a sequel 
260-339. to the movements of the two youths exhibited in the 
prologos, and coinciding in time with the performance of the mort- 
uary ceremony in the parodos of the play. Inasmuch as the mes- 
senger sent by the king to order preparation for the sacrifice is 
one of the herdsmen who effected the capture, his account is not 
only that of an eyewitness, but of a participant who recalls with 
zest the smallest particular of the exciting affair. The impres- 
sions left upon his senses by the spectacle of the strange delirium 
of the Fury-haunted youth, by the gentle services of the devoted 
Pylades, by the stout defence of the pair against overwhelming 
numbers, — these impressions the rustic conveys to Iphigenia and 
the astounded chorus with such naive force that the story seems to 
ever be the deed itself. Rapid epic recital is in truth artis- 
advantage tically more effective, as regards the outlying portions 
cae and more distant motives of a drama, than prolonged 

' scenic representation can ever be. By its obliqueness a 
sense of perspective is produced, a grouping that is helpful to 
unity of comprehension; the light is not dissipated, but accumu- 
lated and thrown in upon the focal point of the whole play — here. 
upon the centralized action of the second epeisodion. 

Zqually appropriate is the narrative form to the details of the 
Second nar- °S°#Pe after the pretended ceremony of lustration. The 
ration, vs, Centre of gravity of the play lies inside the second and 
1327-1419. third epeisodia. Symmetry and balance eall for indi- 
rectness and rapidity in the exodos, where the -facts are related 
to Thoas by one of his men who had attended on the party and 
labored to frustrate the attempt at flight. Constructively, the sec- 
ond narration presented a difficulty which the poet was not obliged 
to meet in the first. The demeanor of the present messenger sug- 


Ahi STIC STRUCTURE. 31 


gests the utmost haste in pursuing the fugitives (he must not yet rec- 
ollect that their escape has been miraculously interfered with) ; nev- 
ertheless he is allowed to stand there and bring his long story to an 
end. By the strictest theory, such an inconsistency would be repre- 
hensible. Practically, however, a certain amount of license hae 
in this direction was conceded and overlooked. It was the spectators 
Athenian spectator who ultimately determined the canons 2° ' closet 
of dramatic art, and his sensibilities were not of the sort ac 
to evolve a law so rigid as to prove destructive of the art itself.” 
In a tragedy genuinely antique, in Aeschylus and Sophocles, we 
expect to find a chorus that bears its part in the dramatic eee sae eae 
action from first to last, the burden of its songs lending: the chorus 
weight and impulse to the movement of the play.” If ™ tagedy. 
organic unity be essential to a composite work of art, it might be 
fairly demanded that any tragedy, by whomsoever written, pro- 
vided it have a chorus at all, should have a chorus that can rea- 
sonably explain why it is there, and, being there, can offer word and 
deed compatible with its continued presence on the scene. Of the 
soft and facile grace, the tender pathos of Euripides’ choral odes, 





24 Tt is curious to note how conscious the poets are apt to be of this theo- 
retical defect, often letting fall some word intended to allay any critical sensi- 
tiveness on the part of the spectator. Here we have Thoas’ remark ‘ they 
have too long a voyage before them ever to escape my spear,’ v. 1825, cf. 
vs. 43, 912 ff. One of the numerous examples is εἰ τῷ καὶ λογίζεσθαι σχολή 
Soph. Aj. 816, at the beginning of the hero’s long soliloquy when about to fall 
upon his sword. Euripides, who himself found occasion often enough to take 
advantage of this generous and reasonable indulgence, had the bad taste to 
slur Aeschylus for availing himself of the same privilege. The remark ὄνομα 
δ᾽ ἑκάστου διατριβὴν πολλὴν ἔχει | ἐχθρῶν ὑπ᾽ αὐτοῖς τείχεσιν καθημένων Phoen. 
751, is aimed against the second epeisodion of the Seven against Thebes, which 
is filled with the messenger’s descriptions of the hostile chiefs, on the eve of 
battle. But Aeschylus was not unconscious of the dramatic license, and is 
at pains to help it Septem 379, where the seer is said to have declared the 
omens unfavorable for an immediate attack. 

% καὶ τὸν χορὺν δὲ ἕνα δεῖ ὑπολαβεῖν τῶν ὑποκριτῶν καὶ μόριον εἶναι τοῦ ὅλου, 
καὶ συναγωνίζεσθαι μὴ ὥσπερ Εὐριπίδῃ ἀλλ᾽ ὥσπερ Σοφοκλεῖ. Poet xviii. 

So again Horace: 

actoris partes chorus officiumque virile 
defendat, neu quid medius intereinat actus 
quod non proposito conducat et haereat apte. 
De arte poet. 198, 


32 INTRODUCTION. 


considered apart merely as lyrical compositions, this is not the place 
to speak. Nor can we stop now to give expression to any sympa- 
thy we may feel for a poet who toils reluctantly under the inherited 
irksome load of a chorus in tragedy. We fortunately have to deal 
at present with one of the poet’s better choruses, as regards organic 
Meee excellence. But the doings of no Euripidean chorus call 
= for extended comment. Its attenuated functions do not. 
Euripides. invite the lingering inquiry that is inspired by this noble 
constituent of tragedy before the beginnings of decline. 

Slavery was not an institution that the thoughtful and humane 
Euripides could contemplate with indifference. It supplied him, 
however, with more than one chorus which might have proved 
Chorus of _—lifticult to levy without its aid. The circumstances are 
captives: happily brought into play in the tragedy before us. The 
Greeks whom the Taurians offer up to their sanguinary deity are 
men; the women are spared for a life of servitude, and, as the 
goddess has her virgin priestess in the Grecian Iphigenia, so has 
the priestess her Grecian maidens serving at the temple.” Their 
hearts can be only with their mistress, their thoughts like hers are 
away in the paternal land, in dreams they tread once more with 
merry feet the dancing-lawns of Hellas. There is not a move- 
ment in the drama but appeals to their sympathies and awakens in 
their minds a genuine and vital interest. 

The motive for the first appearance of the chorus, the summons 
Pertinence from the priestess to attend her in pouring the libation 
of the sev- to Orestes’ shade, is ample and excellent, furnishing as 
ne it does the occasion for entering in solemn procession, 


erform- 

ἘΠῚ and for impressive action as well as song in concert with 
Iphigenia. In short, the parodos, as far as it goes, has the merit 
The of pertinence and dramatic force. Of Euripides, we have 
parodos. no right to ask that it should have gone farther, or that 


more should have been made of it. It has filled the time supposed 
to be occupied by the capture of the men, and, being commatic,” 
it has given to Iphigenia her first real dramatic opportunity. 





25 The parodos is termed ‘commatic’ when it consists wholly or in part of 
a commos, the performance being “ivided between chorus and actor. Such 


ARTISTIC STRUCTURE. 33 


The first and second stasima are strictly apposite to the theme ; 
the first looking backward to the venturesome expedition he 
which has brought the two voyagers to grief, the second stasima. 
forward to the expected journey of deliverance. In both, the 
expressions of personal feeling are prompted by the events, and 
win from the spectator a portion of his sympathy. The third 
stasimon is remarkable. At the crisis with which it coincides, 
when the priestess and the victims have passed from the temple, 
bent on effecting their escape with the image, an ode relating to the 
action in progress would have been inconsistent with the secrecy 
promised by the chorus. On the other hand, the subject of the 
hymn springs directly from the circumstances of the play as a 
whole. The spectator, who has heard the oracle of Phoebus re- 
proached and discredited by the desponding, sceptical Orestes, 
listens with renewed reverence to the sacred story of its origin 
and renown. 

The brief commos between the chorus and the two friends, 
immediately after Iphigenia has withdrawn to fetch her gist 
letter, is very apt. It affords a needed pause and breath- commos, 
ing spell, and reflects perfectly the rare pathos of the “ἴδ 
situation. Finally, the chorus is helped to seem life-like and real, 
by a touch at the close of the second epeisodion, as Iphigenia 
implores their secrecy, promising them their own deliverance in 
return for the favor, and addressing her appeal successively to 
individual members of the band.” 








parodoi are always impressive and powerful, as may be seen in the fine exam- 
ples afforded by the Prometheus of Aeschylus, and the Electra and Philoctetes 
of Sophocles. In the parodos of the Tauric [phigenia, as elsewhere in the 
tragedy, there are faint echoes of Sophocles’ Llectra. 

27 Vs. 1068 ff. Patin objects to this, as inconsistent with the unity of a 
chorus in itself. Here the critic commits the common error of attributing to 
a dramatic personage a consciousness of artistic theory. How is Iphigenia to 
know that her servants will prove a unit in loyalty, without any exertion on 
her own part to secure it? Moreover, the best choruses betray the human in- 
dividualities of which they are composed, as in the Agamemnon the choreutae 
deliver their several opinions when the king has been struck, and the cory- 
phaeus declares the vote. The unity of a tragic chorus is not like that of the 
Siamese twins, but of an organized fraternity. ‘The single voices in the paro- 
dos of the Seven against Thebes, and the colloquies of choreutae (generally 


34 INTRODUCTION. 


Metres AND TECHNIQUE. 


The learner who at one step passes to tragedy from Homer’s 
steady-flowing lines, is at first view bewildered by the 


Abruptness 

of the variety of new metrical forms with which he is con- 
ain fronted. The verse of the dialogue will not be wholly 
epos to strange; he is familiar with its analogues in modern 
drama, poetry ; but the lyric measures will seem meaningless, 


until he finds the key to unlock their secret. He has had no 
opportunity as yet of examining even the few remains that have 
been preserved of the intermediate poetic growth which led to 
the bloom of the Attic drama, through the grafting of epos upon 
a lyric stock. Nevertheless, if he has wandered well with Homer, 
and truly learned to know that never-forgotten voice, he will 
listen most intently for the new tones that tragedy has to utter ; 
nor will his highest imaginings of their beauty and grandeur be 
disappointed in the end. 

A perfect insight into the technical composition of the Greek 
Greek musical drama is impossible, because the data are not 
anne complete. The satire of Aristophanes, so far as it 
ee relates to technique, is instructive enough, but conveys 
ance. only a general notion of the innovating tendencies which 
he deprecates. ‘The ancient metrical treatises of a later period 
are defective and obscure, though they have transmitted a ter- 
minology and the partial basis of a system of rules. Modern 
investigation has supplemented and perfected the knowledge of 
recited rhythms and of the several metres and forms of verse in 
which these are represented. But as regards the lyrical and choral 


attributed in the editions to hemichoria) in the Ajax, and near the beginning 
of the Alcestis and the Jon, are instances in point. 

It has also been urged that the chorus ought not to be present during the 
scene following the short commos (vs. 657-724), and yet fail to be enlightened 
by what passes between the two men. The criticism is not sound. Pylades’ 
name is spoken, as before, but not that of Orestes, nor that of Electra, who 
is alluded to as ‘sister.’ There is enough to lead the chorus to attend with 
heightened curiosity and interest, but there is nothing to help them distinctly 
to an avayvepiots. 


METRES AND TECHNIQUE. 35 


portions of tragedy and comedy, the learned are not wholly at one 
in their views, and in this direction a thoroughgoing scientific 
knowledge is unattainable. The musical notes which 

were written to accompany the words have been entirely eras 
lost. We cannot reproduce the melodies nor the orches- music has 
tic movements, nor form a distinct idea of their charac- 2a EE 
ter. Nevertheless, the rhythmical structure of the lyric texts lies 
before us, in shapes analogous to those of the recited verse, impres- 
sive to the ear and the feelings, and to the analytic sense per- 
spicuous enough to indicate unmistakably the restraint of law in 
their creation. ‘The phenomena of strophe and antistrophe alone 
suffice to prove the thorough inter-adaptation of orchestic, musical, 
and poetic form, and to attest the conscientious elabo- τ ες 
ration that was demanded of the poet. There was urts to 
scope for all true and noble enthusiasm, but not for Poetic 

the wild saltation of unfettered genius. We can under- eu: 
stand perfectly why a proneness to replace antistrophic composi- 
tion by lyrical warbling ad libitum should have manifested itself 
at a period of artistic innovation and decline — why the monodies 
or arias, which the comic poet visits with unsparing ridicule, grow 
more numerous and more lengthy, side by side with increasing 
laxity in other technical matters. To us, the severe precision of 
rhythmical form compensates largely for the loss of the accom- 
panying music. ‘The choral odes of tragedy were meant, in the 
first instance, to be sung, but they can still be read, with an effect 
differing rather in degree than in kind from that with which they 
were originally chanted; and it is only by the aid of voice and 
ear that a right appreciation, or, indeed, any honest enjoyment 
of them, is possible.” 





28 ΤῸ master the rhythms (the art rather than the science) is the student’s 
first and most serious business on beginning tragedy, but the dialogue must 
be recited with skill and fluency before any of the choruses can be successfully 
tried. <A systematic treatment of the whole subject, involving an application 
of the rhythmical principles of modern music to ancient verse, is Dr. J. H. 
Heinrich Schmidt’s /ntroduction to the Rhythmic and Metric of the Classical Lan- 
guages, translated by Professor Jouxs WittiAmMs Wutre. Schmidt’s method is 
followed to a considerable extent in Goodwin’s and Hadley and Allen’s Gram- 


36 INTRODUCTION. 


The Tauric Iphigenia was composed at a time when the regular 
Iambic «Verse of the tragic dialogue, the iambic trimeter, received 
trimeter. less care in the finishing than had been given to it in the 
earlier days of the drama. Severity of form in the tragic trimeter 
ἘΠῚ depends largely on the avoidance of frequently recurring 
severity of trisyllabic feet. Tribrachs are familiar and intrusive, 
itsform. and they must be worked off by the tragic poet through 
the same painstaking elaboration that enabled Demosthenes to 
dignify his prose-rhythm by clearing it of accumulated short sylla- 
bies. If the dialogue of tragedy was to be distinguished from 
that of comedy by stateliness of movement not less than by seri- 
ousness of contents, —for the comic trimeter verges closely upon 
voluble inartistic speech, — if Tragedy hoped to walk at the side of 
her easy-going relative with undiminished claim to deference, she 
was bound to pay strict attention to this matter. The deteriora- 
tion which actually set in begins to make its appearance not many 
After about Years after the beginning of the Peloponnesian War. 
420B.C._ Minor variations are, of course, exhibited by the extant 
tragedies in regard to rigorous treatment of the verse, independ- 
ently of the date of their composition ; a marked laxity, however, 
appears in those composed as late as the second half of the war, 
and, in the main, this degeneracy is found increasing toward the 
last, down to the death of Euripides. The ratio of trisyllabic feet 
in the trimeters of Aeschylus and Sophocles has been estimated 
as about one to every twenty-five verses. In the earlier plays of 
Euripides (Alcestis, Medea, Hippolytus), the verse approaches the 
same degree of finish, the Hippolytus, 428 5.6... being the latest 
of known date that shows this severity of form. But in our 
tragedy, and in others known to be late, the average is as high 
as one resolved foot to every five verses. The Philoctetes of 
Sophocles, 409 B.c., exhibits a free treatment of the verse, but 
nothing like the looseness found in the Euripidean work of the 





mars. The remarks on metre in this Introduction are not meant to take the 
place of anything that is in the grammars; accompanying study of all that 
can be learned from the Grammar is taken for granted. 

For a sketch of the prevailing tendencies in the musical arts at the time of 
Euripides, see Curtius’ History of Greece, Book v., 6. il. 


ewer ννν.- 


METRES AND TECHNIQUE. 37 


same period. Naturally, the rhythmical disturbances are not 
evenly distributed, but tend to accumulate in single verses and 
groups of verses.” 

The presence of the trochaic tetrameter is another distinguish- 
ing mark of the Jphigenia, as regards technique and time Trochaic 
of composition. This brisk and tripping measure is said iar 
to have been the original verse of the dramatic dialogue, before 
tragedy and satyr-play became distinct species, when it naturally 


23 Numerous passages of similar rhythm to the following might be collected. 
The first has 6 resolutions to 6 verses, the second 8, the third 7. 

GAN’ ἄγετε φέρετε ῥίπτετ᾽, εἰ ῥίπτειν δοκεῖ" 

775 δαίνυσθε τοῦδε σάρκας. ἔκ τε γὰρ θεῶν 
διολλύμεσθα παιδί T οὐ δυναίμεθ᾽ ἂν 
θάνατον ἀρῆξαι. κρύπτετ᾽ ἄθλιον δέμας 
καὶ ῥίπτετ᾽ εἰς ναῦς " ἐπὶ καλὺν γὰρ ἔρχομαι 
ὑμέναιον, ἀπολέσασα τοὐμαυτῆς τέκνον. 

Troades, 415 B.c. 


470 ποῦ ποῦ θυγατρὺς τῆς ἐμῆς ἴδω πόσιν, 
Μενέλαον; ἐπὶ γὰρ τῷ Κλυταιμνήστρας τάφῳ 
χοὰς χεόμενος ἔκλυον ὡς εἰς Ναυπλίαν 
ἥκοι σὺν ἀλόχῳ πολυετὴς σεσωσμένος. 
ἄγετέ με- πρὸς γὰρ δεξιὰν αὐτοῦ θέλω 
415 στὰς ἀσπάσασθαι, χρόνιος εἰσιδὼν φίλον. 
Orestes, 408 B.c. 


55 ἀλλ᾽ ὦ λιποῦσαι Τμῶλον, ἔρυμα Avdlas, 
θίασος ἐμὸς γυναῖκες, ἃς ἐκ βαρβάρων 
ἐκόμισα παρέδρους καὶ ξυνεμπόῤους ἐμοί, 
αἴρεσθε τἀπιχώρι᾽ ἐν πόλει Φρυγῶν 
τύμπανα, Ῥέας τε μητρὺς ἐμά θ᾽ εὑρήματα, 
00 δΒβασίλειά 7 ἀμφὶ δώματ᾽ ἐλθοῦσαι τάδε 
κτυπεῖτε Πενθέως. 
Bacchantes, posthumous. 


The proper names of tragedy, mostly an inheritance from the dactylic epic 
poetry, present insuperable difficulties in the composition of the strict iambic 
trimeter. With so much the more care should resolved feet made up of other 
words be excluded from the same verse with a proper name, and from con- 
tiguous verses. Such passages as those quoted above are difficult to pronounce 
well, because they call for great fluency and precision of utterance, to pre- 
serve the rhythm. For the same reason the comic trimeter is almost as hard 
to recite as prose, but a good recitation shows it to be an instrument perfectly 
adapted to its purpose. 


101530 


38 INTRODUCTION. 


came to be displaced by the graver iambic.” The persistence of 
the type is indicated by the Persians, the ratio of trochaics to 





80 τότε μέτρον ἐκ τετραμέτρου ἰαμβεῖον ἔγένετο- τὺ μὲν γὰρ πρῶτον τετραμέτρῳ 
ἐχρῶντο διὰ τὸ σατυρικὴν καὶ ὀρχηστικωτέραν εἶναι τὴν ποίησιν, λέξεως δὲ γενομένης 
αὐτὴ ἡ φύσις τὸ οἰκεῖον μέτρον εὗρεν: μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν 
ἐστιν. σημεῖον δὲ τούτου, πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς 
ἀλλήλους, ἑξάμετρα δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς λεκτικῆς ἁρμονίας. Arist. 
Poet. iv. 

ἐν δὲ τοῖς ἰαμβείοις, διὰ τὸ OTL μάλιστα λέξιν μιμεῖσθαι, κτλ. ἴδ. XXii. fin. 

The iambic is λεκτικόν (“ adapted to speaking ”’), partly because it is a ris- 
ing rhythm with anacrusis: 7.e. the ictus is preceded by a preparatory sylla- 
ble or syllables, which lends the gravity of discourse, and links the members 
with less abruptness. But the trochaic is a falling rhythm; it begins with the 
beat and has a singing effect. Furthermore, the iambic trimeter verse has the 
wider scope needed for rhetorical purposes, because it may be employed as a 
rhythmical unit (στίχος μονόκωλος), whereas the trochaic tetrameter is invaria- 
bly a period of two members (SikwAos), each member only a dimeter. This 
double structure is generally emphasized in modern poetry by a rhyme at the 
end of the first colon, before the diaeresis, thus : — 

‘Lives of great men all remind us 
We can make our lives sublime, 
And, departing, leave behind us 
Footprints on the sands of time.’ 
The rhythmical structure is precisely the same, however, when there are no 
such rhymes and the stanza is printed in two lines : — 
‘Not in vain the distance beacons. || Forward, forward let us range : 
Let the great world spin forever || down the ringing grooves of change.’ 

The only difference is that the scope of the verse seems greater when its com- 
posite character is not emphasized by rhyming. Therefore in comparing the 
iambic trimeter and the trochaic tetrameter as to length, two trimeters must be 
counted against one tetrameter, 7.6. twelve feet against eight. Since the tri- 
meter may or may not be musically divided, it has both the energy and the 
elasticity of discourse, affording large and weighty rhythmical (and rhetori- 
cal) masses, if needed, with the utmost variety in their distribution (‘pause 
melody’). The following passage from the Jphigenia illustrates the flexibility 
of the verse: 

ὦ πότνι᾽, ἥπερ μ᾽ Αὐλίδος κατὰ πτυχὰς 

δεινῆς ἔσωσας ἐκ πατροκτόνου χερός, | 

σῶσόν με καὶ νῦν τούσδε τ᾽ - | ἢ τὸ Λοξίου 

1085 οὐκέτι βροτοῖσι διὰ σ᾽ ἐτήτυμον στόμα. | 

ἀλλ᾽ εὐμενὴς ἔκβηθι βαρβάρου χθονὸς 

εἰς τὰς ᾿Αθήνας - | καὶ γὰρ ἐνθάδ᾽ οὐ πρέπει 

ναίειν, | παρόν σοι πόλιν ἔχειν εὐδαίμονα. 

The revival of the trochaic tetrameter was a distinct gain to tragedy, pro- 
vided it could be used with moderation, without displacing too largely the 








METRES AND TECHNIQUE. 39 


iambics in that somewhat archaic tragedy being nearly one to 
three. For the space of half a century, however, it is very spar- 
ingly employed, until effectually revived by Euripides. Revived by 
The earliest of his plays of known date in which this Euripides. 
verse appears is the Troades, 415 B.c.; but since it is extensively 
used in the probably older Jon, its revival may be thought of as 
contemporaneous with the degeneration and heightened rapidity 
of the iambic trimeter.” 





anapaestic system, or bringing with it a hobbling rapidity of the iambic tri- 
meter. There is no reason in the nature of things why its presence should 
have been accompanied by these losses and defects, although they seem to 
have been due in some degree to the same popular tendencies which brought 
the tetrameter into favor again. Nothing but a strong reactionary feeling 
could eyer have forced this verse so far into the background as it appears to 
have gone for fifty years. It could not be dispossessed altogether, and the 
closing scene of the Agamemnon affords a capital illustration of its value, and 
of the poet’s sense that at certain junctures it was the one appropriate meas- 
ure. The other examples in tragedy outside of Euripides are at the close of 
the Oedipus Tyrannus (coryphaeus), and near the end of the Philoctetes. In 
the Oedipus at Colonus there is a single quatrain, pronounced by Theseus as 
he comes speedily to the rescue : — 


τίς ποθ᾽ ἣ Bon; τί τοὔργον ; ἐκ τίνος φόβου ποτὲ 

βουθυτοῦντά μ᾽ ἀμφὶ βωμὸν ἔσχετ᾽ ἐναλίῳ θεῷ 

τοῦδ᾽ ἐπιστάτῃ CoAwvod; λέξαθ᾽, ὡς εἰδῶ τὸ πᾶν, 
800 οὗ χάριν δεῦρ᾽ ἢξα θᾶσσον ἢ καθ᾽ ἡδονὴν ποδός. 


The passage illustrates an ancient notice that trochaic tetrameters were em- 
ployed to accompany entrances on the ‘double quick,’ ἵνα ὁ λόγος συντρέχῃ τῷ 
δράματι (trochee, τρέχειν). It is noteworthy that in the Persians the iambic 
trimeter is employed chiefly for narration, while almost all of the colloquy is 
trochaic. 

81 While the Tauric Iphigenia is proved by its versification to belong to the 
late Euripidean period, the year of its representation can only be conjectured, 
No notice touching the date has been preserved, no comment or parody occurs 
earlier than the passage of the Frogs already mentioned, and it is one of the 
merits of the play that in itself it contains no definite allusion to current 
events. The striking similarity of its plot to that of the //elen, 412 n.c., has 
furnished reason for supposing that the two tragedies stood not far apart in 
time of composition, thongh they clearly cannot have belonged to the same 
tetralogy. Bergk Griechische Literaturgeschichte iii. 552 argues that the [phi- 
genia must have been later than the //ectra, and assigns the Electra (which 
must have preceded the Helen) to the year 414, the Jphigenia to 413. Weil, 
however, Sept Tragédies d’Huripide (Notice sur (lectre) assumes 415 as the 
year of the Electra, and the Iphigenia cannot have been in the same tetralogy 


40 INTRODUCTION. 


The transition to trochaic rhythm in the third epeisodion occurs 
Ethosof ἃ ἃ moment when Thoas has been completely won over 
the trochaic by Iphigenia to the supposed religious exigency (vy. 
pas 1202). It marks an acceleration of the proceedings 
and a heightened excitement, as the king is bidden to perform his 
part in the ceremony, and the hazardous plot is now actually set 
in motion. The liveliness of movement is increased by 
the division of each line between the two interlocutors, 
the division occurring for the most part at the regular diaeresis 
of the verse, although a monotonous uniformity is avoided, by a 
different severance in about one-third of the whole number of lines. 
Such partition—-here quite appropriate as a climax after the iam- 
bic stichomythia that precedes—seems even more natural to the 
tetrameter, owing to its double musical structure, than to the trime- 
ter, although Aeschylus has allowed it in neither. In Sophocles, 
avttAa Bac of both measures occur, of trochaics Phil. 1402 ff. Here 
the divided dialogue is followed by twelve verses of Iphigenia, 
which fall into three quatrains in respect of the sense, accompany- 
ing the retreat from the temple and off the scene. At an earlier 
period a similar march would have been accompanied by anapaests, 
but the trochaic movement is better suited to the suspense and 
flutter of the present situation. 

The stichomythia, or dialogue in alternate single verses, gener- 
otixour- ally understood of iambic passages, but equally appli- 
Bla. cable to trochaics, is employed by Euripides with the 


ἀντιλαβαί. 





with it. The discrepancy shows how unstable are the grounds of calculation. 
The argument that the carping at oracles in the play points to the time of 
the Sicilian Expedition, would amount to little or nothing, even if the passages 
meant were not thoroughly dramatic. Bergk thinks that such a work as our 
tragedy is, could not have been composed by Euripides, sensitive as the poet 
was to impressions from without, in the troubled times immediately after 
that great disaster. Wecklein, on the other hand, finds a pathetic allusion to 
the Sicilian catastrophe in the closing words τῆς σῳζομένης μοίρας εὐδαίμονες 
ὄντες, see on vs. 1490 f. We should really be glad to know whether the Jphi- 
genia came before or after the Helen. Did a happy inspiration and success- 
ful spontaneous effort lead to an inferior attempt on the same lines? Or 
was Euripides able, after giving himself free rein in the semi-comic Helen, to 
find in it a model for such restraint and single-mindedness as were needed to 
produce a Tauric Iphigenia? 


METRES AND TECHNIQUE. 41 


utmost freedom in all respects. The poet’s fondness for dia- 
lectics and set debate, ‘words wrestling down words,’* found 
one of its outlets in this form of dialogue. Sharpness of repartee 
and an exquisite subtlety are characteristic of the stichomythia in 
all three of the tragic masters. Euripides extended its 5 areas 
compass as the vehicle of matter-of-fact conversations scope by 
intended chiefly to elicit information or to interchange Puripides. 
counsel. The long stichomythia between Iphigenia and Orestes in 
the second epeisodion (vs. 492-569) is a conversation that ad- 
mirably serves its purpose in the gradual approach to the crisis of 
discovery. The βούλευσις, or council of war (vs. 1017-1051), 
takes the same form. In the colloquy with Thoas, which, as we 
have seen, finally passes into trochaic rhythm, the interlocutors 
are at cross-purposes, as often happens in the stichomythia. With 
the other examples that occur, the play affords a study of nearly 
the whole range of this species of dialogue. 

The anapaestic system is employed in the tragedy before us only 
toa very limitedextent. Although the lyrical anapaests, 7, 
presently to be described, may be regarded as partially anapaestic 
supplying its place, still we cannot fail to note that with ‘¥st™ 
Euripides, as time advanced, the anapaestic system, pure and sim- 
ple, came to forfeit a portion of its earlier dignity and importance. 
The passages that occur in this play, brief as they are, serve to 
illustrate the original and most common function of the metre. 
Being a march-rhythm,” it regularly accompanies formal entrances 





8: ἀλλ᾽ οὖν λόγοι γε καταπαλαίουσιν λόγους ph. Aul. 1013. 

The longest stichomythia in Aeschylus, Supp/. 291-523, consists of thirty- 
three lines, including two distichs at the beginning, and one at the end. In 
Pr. 36-81 there is a similar dialogue extended to the length of forty-five lines, 
but one interlocutor speaks in distichs. The longest example in Sophocles is 
probably Oed. Tyr. 1000-1050, fifty-one lines, including two distichs near the 
beginning and a quatrain at the end. In the Jon, 264-368, a stichomythia is 
prolonged to one hundred and five lines without a distich, and others of similar 
extent might be cited from our author. The attempt to find a thoroughgoing 
numerical symmetry (groups) in the long stichomythiae, has not proved suc- 
cessful, but a tendency to general symmetry and balance is often discernible, 
see the notes on vs. 69 f., 1027. 

88 In reciting anapaests there is danger of the same error that is often com- 
mitted in reading Homer —the error of not taking the time rightly. Since it 


‘ 


x 


42 INTRODUCTION. 


and exits, whether of chorus or of persons of the drama. At the 
beginning of the second epeisodion, the approach of the chained 
and guarded victims is announced in two anapaestic systems by 
the coryphaeus. Again, there are three systems by the coryphaeus 


is customary to read English poetry of all sorts in ὃ time, the student finds 
himself at home, so far as the time is concerned, with Greek iambic, trochaic, 
and logaoedic verse. But he is apt to go wrong in reciting the anapaestic 
system, although its character is destroyed and its spirit lost if the true time (2) 
be not observed with precision. Mark the time with your feet, left foot to the 
ictus of the first, and right foot to the ictus of the second anapaest in the metre, 
until you find that such help can be dispensed with. Take care and give all 
the quantities their exact value. Never clip a long syllable because the ictus 
happens to fall on the succeeding short (_ 4% V). Finally, think of nothing 
but the sense. 

As the Iphigenia affords but slight material for practice in anapaests, the 
four systems that form the prelude to the temple-song of Ion are here printed. 
‘The youth, who dwells in the temple at Delphi as its servitor, marks the first 
beam of morning : — 





ἅρματα μὲν τάδε λαμπρὰ τεθρίππων 
ἥλιος ἤδη κάμπτει κατὰ γῆν, 
ἄστρα δὲ φεύγει πῦρ τόδ᾽ am αἰθέρος 

85 εἰς νύχθ᾽ ἱεράν, 

Παρνησιάδες δ᾽ ἄβατοι κορυφαὶ 
καταλαμπόμεναι τὴν ἡμερίαν 

ἁψῖδα βροτοῖσι δέχονται. 
σμύρνης δ᾽ ἀνύδρου καπνὸς εἰς ὀρόφους 

90 Φοίβου πέτεται" 
θάσσει δὲ γυνὴ τρίποδα (ζάθεον 
Δελφίς, ἀείδουσ᾽ “Ἕλλησι Boas, 

ἃς ἂν.᾿Απόλλων κελαδήσῃ. 
ἀλλ᾽ ὦ Φοίβου Δελφοὶ θέραπες“, 

95 τὰς Κασταλίας ἀργυροειδεῖς 
βαίνετε δίνας, καθαραῖς δὲ δρόσοις 
ἀφυδρανάμενοι στείχετε ναούς " 
στόμα T εὐφημεῖν φρουρεῖτ᾽ ἀγαθὸν 
φήμας T ἀγαθὰς 

100 τοῖς ἐθέλουσιν μαντεύεσθαι 
γλώσσης ἰδίας ἀποφαίνειν. 
ἡμεῖς δέ, πόνους ovs ἐκ παιδὸς 
μοχθοῦμεν ἀεί, πτόρθοισι δάφνης 
στέφεσίν θ᾽ ἱεροῖς ἐσόδους Φοίβου 

105 καθαρὰς θήσομεν ὑγραῖς τε πέδον 
ῥανίσιν νοτερόν, πτηνῶν T ἀγέλας, 
at βλάπτουσιν σέμν᾽ ἀναθήματα, 
τόξοισιν ἐμοῖς φυγάδας θήσομεν" 


a 


a Ss 


METRES AND TECHNIQUE. 45 


at the end of the piece, forming the exodos proper: the first is an 
apostrophe to the happy voyagers; the second is addressed to 
Athena; while the third, a concluding formula found at the end 
of two other tragedies, is a short prayer for victory in the dramatic 
contest on the part of poet and choregus. 

The iambic trimeter, the trochaic tetrameter, and the anapaestic 
system are the only metres that were employed in tragedy _ 
for recitation or declamation by a single voice. The ‘74 
mode of delivering them was doubtless subject to varia- 
tion according to times and circumstances ; even iambic passages, 
we are told, were occasionally melodramatic with flute accompani- 
ment, while the trochaics and the anapaestics must have been still 
oftener performed as chant or recitative. Nevertheless, these 
three are to be classed together as distinct from the numerous 
and varied lyrical measures in which those passages are written 
that were set to music and sung by the chorus in the orchestra or 
by an actor (ἀπὸ σκηνῆς). The distinction between the p,... 
two classes is brought to view in the language itself, guished by 
not merely by the style of expression, but even by the the dialect. 
dialectic form. In melic passages the old Attic dialect, adhered 
to with tolerable strictness in the other parts of tragedy, becomes 
modified by foreign elements, which are admitted not only con- 
ventionally, as the common inheritance of lyric song, but for the 
desired effects of poetic elevation and transfigurement. The promi- 
nent dialectic variation is the Doric (archaic) ἃ replacing Attic 7 
in terminations and sometimes in stems. The dialect is at times 
strikingly helpful as a key to the vocal character of a passage. The 





ὡς yap ἀμήτωρ ἀπάτωρ Te γεγὼς 
110 στοὺς θρέψαντας 
Φοίβου ναοὺς θεραπεύω. 


Mrs. Browning pays her respects to this noble verse in Wine of Cyprus :— 


‘Then, what golden hours were for us !— 

While we sat together there, 

How the white vests of the chorus 
Seemed to wave up a live air! 

How the cothurns trod majestic 
Down the deep iambie lines, 

And the rolling anapaestic 
Curled like incense over shrines! ’ 


44 INTRODUCTION. 


transition, for example, from the regular anapaestic system, whick 
is always purely Attic, to lyrical anapaests will occasionally be 
sooner revealed by the language than by any departure from the 

metrical norm. In the exodos of the Persians Xerxes leads off the 
commos with a regular system of nine verses. The coryphaeus re- 
sponds with another of four verses, which is immediately followed 
by one that we recognize as melos by the change of dialect : — 

ὀτοτοῖ, βασιλεῦ, στρατιᾶς ἀγαθῆς 

καὶ ἹΤερσονόμου τιμῆς μεγάλης, 

920 κόσμου τ᾽ ἀνδρῶν, 
οὖς νῦν δαίμων ἐπέκειρεν. 

ya δ᾽ αἰάζεί τὰν ἐγγαίαν 

ἦβαν Ἐέρξᾳ κταμέναν “Ardov 

σάκτορι ἹΠερσᾶν κτλ. 

Lyrical or free anapaests are mostly used to express deep sorrow. 
Eros as in dirges for the dead. ‘They are sometimes coim- 
anapaests. bined in systems which differ but slightly from the regu- 
lar system in respect of metrical form; and sometimes, on the 
other hand, they convey the very opposite effect of such a com- 
plex by a succession of catalectic verses. Besides the usual cata- 
lectic tetrapody or dimeter (paroemiac verse), catalectic dipodies 
and tripodies occasionally occur. ‘The character of the movement 
varies between the extremes of a purely spondaic flow (— +) and 
accumulated proceleusmatics (UU ὦ ὦ). The spondaic move- 
ment largely predominates, as the expression of resigned grief, 
while the other extreme, the proceleusmatic, indicates the rebel- 
lious agitation that will at times intrude itself. The proper caesura 
of the dimeter verse is sometimes wanting. All of these peculiari- 

ties find illustration in the parodos of the Iphigenia. The 
composition, as usual, is not antistrophic, and it will not 
be necessary to lay out a metrical scheme for the whole passage. 

Vs. 123-136 accompany the entrance of the chorus, and form 
pee the parodos proper. Ordinarily, the regular anapaestic 
the dirge, | System would have been here employed, but an occasion 
vs.123- οὗ religious solemnity — the approach to a temple — calls 
115: for spondaic rhythm. The first three lines, enjoining a 
holy silence, are acatalectic, the third without caesura. 


Parodos, 


METRES AND TECHNIQUE. 45 


> 9 
evpapetT , ὦ 
, 
πόντου δισσὰς συγχωρούσας 
On , Bvé ΄ὕ ΄ 
125 πέτρας ὐξείνου ναίοντες. 


In singing, the first verse was perhaps made to occupy the same 
time as each of the others, thus: — 


Leap Ly ay) | 
aa Ὁ ΄ 


The address to the goddess, immediately following, begins with two 
prosodiac (processional verses), catalectic tripodies : — 


Prosodiac 
> A An a 
ὦ παῖ τᾶς Λατοῦς, and 
Δίκτυνν᾽ οὐρεία. paroemiac 
verses. 


These are followed by eight dimeters, of which all but two (vs. 
130, 133) are paroemiacs : ἢ — 


΄ 


Finally, when the chorus has come to a stand at the thymele of 
the orchestra, the priestess is addressed in a system (vs. 137-142) 
peculiar only in the spondaic character of three of the verses, 
including the paroemiac at the close. 

The remainder of the parodos is at once commos and dirge,— 
two monodies of Iphigenia, with response by the chorus Oeste 
to the first monody. ‘The words ὕμνον ᾿Ασιήταν, βάρβαρον (θρῆνος), 
ἀχάν (ν. 180) are an indication of the musical mode of vs. 148- 
the whole composition, Lydian or Phrygian with flutes zit 
(σπονδειακοὶ αὐλοί). No verses occur that are essentially different 
from those mentioned above. V. 145 may have been prolonged in 
the same way as v. 123. Proceleusmatics appear in several lines. 





84. Precisely the same form, a succession of paroemiacs, is seen jin an 
ἐμβατήριον or marching-song of Tyrtaeus that has been preserved. Hence 
the name παροιμιακός, “on the road” (oluos). 

ἄγετ᾽, ὦ Σπάρτας εὐάνδρου 
κοῦροι πατέρων πολιατᾶν, 
λαιᾷ μὲν ἴτυν προβάλεσθε, 
δόρυ δ᾽ εὐτόλμως πάλλοντες 
μὴ φείδεσθαι ras (was 

οὐ γὰρ πάτριον τᾷ Σπάρτᾳ. 


ς 


46 INTRODUCTION. 


Vs. 197, 220, 232 contain no long syllables : WW www Ww. In 


others the movement is not uniform: v. 218, wWws 2 





V. 215, ὧὖὖ 5. τς ἢν. 281, _ Ge po ee 
the note. The pouring of the drink-offering is accompanied by a 
system (vs. 170-177) which, again, is nearly regular, but yet 
remains true to the character of the whole composition, the paroe- 
miac at the close being purely spondaic. 

The predominant rhythm for choral songs in the logaoedic. In 
Logacedic SOphocles and Euripides, the presumption is that any 
strophes. given ode will be found composed in logaoedic verses. 
If a different measure is employed, some special reason therefor 
will be discernible ; as, for exampie, in the parodos discussed above, 
free anapaests were chosen for the voice of mourning, and as 
later in the play dochmiacs-will be called for. Logaoedic verse has 
Variety and 0 special application or distinct ethical character., Its 
flexibility variations of form and shades of mood are so manifold, 
ees that, wherever any sort of lively movement is admissible, 
rhythm. the rhythm adapts itself to the thought with a subtle 
harmony which is instinctive to the poet, and recognizable, even 
when it cannot be formulated in set terms, by the hearer. We 
may form a conception of the infinite variety of which this rhythm 
is capable, by reflecting that the odes of Horace are nearly all of 
them logaoedic: the Horatian stanzas cover a good range of ethi- 
cal expression ; yet not one of them has either the compass or the 
flexibility of an ordinary strophe of tragedy, while at the same 
time no two strophes exactly alike are to be found in the whole 
body of tragic literature. The three stasima of the Iphigenia are 
logaoedic, the first and second consisting each of two pairs of 
strophes, the third of one pair. The metrical schemes for them 


are as follows :* — 


85 The metrical schemes are transcribed, with the necessary adaptation to 
the text of this edition, and some other changes (especially in the last scheme 
printed), from the third volume of Schmidt’s Kunstformen, Monodien und Wech- 
selgestinge cecxix.—ceexxxix. The sign J] marks the end of a period; the sign || 
separates the cola. Two short syllables pronounced in the time of one (six- 
teenth notes) are designated by w. The other symbols are explained in the 
Grammars. The Roman numerals below the schemes designate the several 


METRES AND TECHNIQUE. 47 





eee Vs. 392-406 = 407-420. 
meat. = 
Lov} ou Lett! YY ΓΞ ee ele er First 
Wee lw | uw | -᾿ὦὦ |All stasimon, 
ey vy | Ne αν] ΡΣ ae | ΛΙ es 
aS = = — schemes. 
meee | vw | > ἘΞ ΠΕ ΒΕ Nea] 
Meee os (Yay ϊτξυσίυσ, --.Δ ] Strophe 1, 
Ἐπ |Π -ἰ..ΔΛ] 
᾿Ξ - τ. | __A. ll 
ween | -ὦὖὦ] vw | aw fav 
| | es (ey at || 
eee | [till > | eV [.[--Λ } 
ἘΝ ΠΡ δ. 16 IG 6. 1.6.4. We 4.4. 
Ws. 421-438 = 439-455. 
if a | > | Sow | — All Strophe 2. 
Pew | wy | τ. |All 
eee |_| _& Juuvulwu|_All 
wees [Ξ | wu | ΕΞ he) ~~ baal 
Moss | —¥ |=vv|_Al 
= 


eee ww | A ] 


periods, while the Arabic numerals give the number of bars (feet) in each 
colon, and show the symmetry of the period, according to Dr. Schmidt’s con- 
stitution of it. The epodes, which are external to the symmetry, are marked 
off with a vertical line before the numeral; the mesodes will be easily recog- 
nized. ‘Thus in the first period of the first scheme (6.5.6. |6.) there isa 
pentapody as mesode, and a hexapody as epode, while the first and third cola, 
hexapodies, balance each other. 

The schemes are not only of interest as exhibiting the theory of musical 
structure, but also practically useful as a guide in reading. They show the 
quantities, help to a right placing of the ictus when this might not be readily 
found by ear, and are especially needed to indicate the syncopated feet ((_). 
In lines whose rhythm is not readily caught, the student will sometimes find 
it worth while to place dots under certain syllables in the text to indicate syn- 
copation or ictus, as ἔπλευσαν ἐπὶ πόντια κύματα, and δρόμους καλλισταδίους ἄξει- 
vov κατὰ πόντον. Sa oat ' 

Accurate rhythmical recitation of choral odes, so far from being incon- 
sistent with due expressiveness, helps to reveal the effective harmony between 
sense and form. A fluent and distinct enunciation is needed, and careful 
practice, until the rhythm takes care of itself, or becomes only a sub-conscious- 
ness, while the mind of the reader dwells upon the thought, the imagery, and 
the feeling. 





48 INTRODUCTION. 


SE τ. Nl 
ΞΡ sy | - [ΞΡ Ἢ 
ΞΡ |Party II 
Vie = we |e Nall 
—>l|owvul|]_All 
Src lav l—Al 
Vv. Si Ee P| wall 
ΞΕ ΕΞ 
VD Ξ Ί Ξῶ 1 ἘΞ ΞΙΞΞ  ΠἸΞΙΞΞΕΝΙ 


ΤΙ. 4.4. IL. 6.6. 1.1. 4.3.3.4. | 4. DV. 8) 3235) τὸ ΤΙΝ 


Strophe 2 has a somewhat more tripping movement than 1, the 
cola being shorter and more uniform in length. There is a rather 
fanciful and imaginative turn of the thought in the second pair, 
after the questioning and reflective spirit of the first. Observe 
the close similarity of the final periods. 


Vs. 1089-1105 = 1106-1122. 


Second tS ΟῚ eal 
stasimon, Fak ee pian τ πον 
metrical 
aahewiast GGG SS |) fl ἡ τες: 
yu lou | wu |_All 
Strophe 1. WAN All, Seng lle + | ieee ΞΞΑῚ 
10 wR a ᾿Ξ τ τ} Ἐπ - > | SOR] Ε-- ΞΕ 
ἐλ {ἘΠπῸῚΞ ΞΘ 7 Ὁ ι ἸΌ τ ΌΣΟΙ 
-ὖω πω ]-.--ὦὕ]}--5 ι- 1: -ὁ ΚΞ ΕΞ /)\ || 
Ξε ΞΒϑΨΝτ-τωυ | => | τ Ne | Se aa eee 
᾿ SSeS Cire Seal ies eee eee ΞΟ || 
PURE || Sa || ag |) te >|) a eae 








I. 4.4.4.4.|6. 11. 44.44.44.44.44,44, 


Vs. 1123-1156 = 1137-1151. 


Strophe 2, I. Rey Ju | “ΞΡ aN 
ἘΠ ΕΞ [ΞΟ | | wall 
Pa Ξε | aw ΞΘ ΕΞ ΧΙ 
WHF | eens a ere Nal 
Pe Cie ify tibet) fe ez) a) hell 
ΠῚ τς: = [-- Saas |π:ἃ ᾿Ξ |S SG | aa eee 


WY | > law [el au | 5 Ξ eee eae 





METRES AND TECHNIQUE. 49 
SS ONO (a cr Mn Ga | © ". Ἐ (eG A | 
Syu low | ow J ov low | er | ve IEA 
eo | 1 || — ΓΞ 


Wea 4.4 [4 91. 44.44. TNT. 44.44.) 4. 


The responsion is imperfect in ἔνθα τᾶς ἐλαφοκτόνου, v. 1113. The 
sentiment is still present that found utterance at the close of the 
first stasimon, the captives’ regret and vain imaginings. The 
rhythm of the two odes is very similar. The movement here is 
quite uniform. Both the uniformity and the lack of anacrusis in 
the first period of strophe 1 add to the plaintive singing effect. 
There is some recovery from this steadfast plaint at the close of 
strophe 2, where the uninterrupted flow of cyclic dactyls is to be 
noted in the last verse but one. Observe the resemblance in sound 
between ἔλεγον and ἔπεσον, μολπαῖς and λόγχαις, which oceupy corre- 
sponding positions in strophe and antistrophe 1. The recurrence 
of the same strain of music and the same dance-figure enforces 
such verbal correspondences, which occur frequently and cannot 
be regarded as accidental. 





| VWs. 1234-1258 = 1259-1283. 
| ΕΠ ἢ τ 1. υἹ.--Λ l Third 
Seas iow | ce (lo | wv LAI stasimon, 
: metrical 
| ieee, | yw | — A. Il scheme, 
Sew low [wv 1.- low lo | oe J ll 
| eee |u| A I 
ἱ ieee (ow | — A 
| as a A (ee ee |e ee i | ee | 
| may | | —A ] 
Ill. ΠΟ ΟΪ wy | > | ~v |All 
meee | | > ᾿Ξ |All 
) ΒΕ τυ fy lg | mr |_ AI 
ae fa SS | yw | — A J 
ΝΠ e wo lourluvul—_ellwsl|—vl—vl—ell 
wee | i= *| =Y [ἘΞ 6) wl eae) 
Vie vuvulwu| eA ll 
eee > 1: (All 
> | ea | πον | aea//\ I 


eee ose | WN I 





50 INTRODUCTION. 





o: we | UL | IRA || A Ih 
| 


EN aE τῇ 


I. 4.38. IL 8.44.8.8.44.8. ΠῚ, 5.55.14) Τὴ 
V. 3.4.8.3.4.]6. 


In subject the third stasimon stands quite by itself. It is a 
chapter in sacred history, and the one long strophe has a certain 
tranquillity of rhythm, with a single pointed departure therefrom in 
the fourth period; see the note on vs. 1274 f. jin. It is a passage 
well in keeping with the name λογαοιδικός. ‘* song (dowdy) blended 
with discourse (Adyos) .” 

Of dochmii, K. Ὁ. Miiller says, ‘they are admirably fitted, by 
their rapid movement and the apparent antipathy of their 
elements, to depict the most violent excitement of the 
human mind, while the great variety of form which may be devel- 
oped from them lends itself equally to the expression of strong pas- 
sion and of deep melancholy. Tragedy has no form 


Dochmiacs. 


The charac- ; are 
cenatin more peculiarly her own, nor more characteristic of her 
tragic entire being and essence.’ Such being the nature of 
measure Ὁ a 

ures 


the dochmius, we are prepared to find it a favorite meas- 
ure with the ‘ most tragic of the poets.’* Since in Euripides the 
chorus has lost much of its earlier intensity of feeling as a dramatic 
participant, the dochmiaes fall largely to the share of the persons 
of the play, in monody or in lyrical dialogue. In the Iphigenia 
they are first met when sung by the chorus in the short commos of 
the second epeisodion, afterwards in the scene of recognition. 


Second Vs. 648-657. 
commos 
rietzioal Chorus. 
scheme. τ Keo. | willy Aon PA Il 
τ CPP A ID | Sy II oy ey Ξ PI 645 





86 History of Greek Literature, c. xxii..§ 13. By ‘the antipathy of their 
elements ’ the change of tempo (2, 2) that occurs inside the colon (ὦ ἢ __ 
vu | — ull) is meant, the hitching, “slantwise ” (δόχμιον) movement from 
which the metre gets its name. In the phraseology of mechanics the doch- 
mius might be said to work on an eccentric. 

87 καὶ 6 Ἑὐριπίδης, εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός γε τῶν 
ποιητῶν φαίνεται Arist. Poet. xiii. 


METRES AND TECHNIQUE. 51 


Orestes. 
eee te [ow | Ls |e | AT 
Chorus. 
Weer (wow ill wv ||LAll 
wre oo | vw lu >|—All 
Pylades. 
ΕΠ, τὉὈΌῦΡΆ},ἶΚἈ 5 .- | tw | LAD 650 
Chorus. 


Wl SpE pte Se “Ξ-ΞΙ eee ee ane | 
eee ω|.- All 


Ἐν τ ))1.-.-ἰ-- Al be 
mew ὐὺΪυυσ νυ). ΔΛ 655 
ΤΕ τ τ" wy il - iw 11.. Δ] 








ΗΠ 66 τ΄ 66: 6. tr. 1ΠΠ. dd’ ΤΠ]. 8.8. Τὺ. ddidd: 


d. stands for dochmius, tr. for iambic trimeter. νεανία in v. 647 is 
pronounced with synizesis. The trimeters of Orestes and Pylades, 
as opposed to the dochmiacs of the chorus, indicate self-control ; 
but they were doubtless chanted, not recited, in these responses. 
The choral parts may well have been performed by hemichoria. 


Vs. 827-899. Scene of 
ane: ' recognition 
Iphigenia. (uéNos. tem 
ΕΠ] 07]. ὦ.}--}--ὐἹἸ-Ξ-- Δ σκηνῆ»), 
wee | ὦ] τ-τῶυ-..Λ metrical 
ποτ υσυυωυ —A il scheme. 
may wy | —_A l 830 
Orestes. 
eee | ow | ov | => | av |—All 
ποτ οϊυνυϊυςφυ}Ἱὶυυυ νυ}: Δι 
ee | o> [ow => |υ--ὦ.].. Δ] 
Iphigenia. 
il. Mw wwrlwvvilli vw vlivivwucvuloull 
ἘΠ ΟΣ | ee 835 
ΕΞ iw | ew | All 
eee | oN Δ 


Peewee | Al 840 


52. INTRODUCTION. 


Orestes. 
EV sie 0 No ne: HS all 


Iphigenia. . 
WE OS 27 || SONG Ay I Al 
Ree ΞΕ | 
Sour Ξ ἐλ ἘΞ Nl 
‘Ve :Ξ τ eine | Seiad) 7] Δ 845 
peat Ὁ ΡΞ ΔῊΝ 
PE OFT) || Gh Whe op κα] ἢ 
oF SS oa all 
Ss | le] 
΄ Orestes. 
ΞΟ ἘΞ ΕΝ 850 
ΞΘ ere (ee |S eet line, || ΣΙ 
Iphigenia. 
We ww) || eS Iho wl NI 
Fah eee Eats IE ney ae ne | ea 
Orestes. 
NLS τε ΟΞ | ea 855 
Iphigenia. 
IEG GY Pel Gey ea || NA 
8 iG || Swale  Ξ || A 
C3 PULL |e ty Pee A 
a earn oy gee All 
Orestes. 


VTS ΙΒ eal eal eee 


Iphigenia. 
συ συ] υυσ) σι π |S ieee 865 
Orestes. 
| Sl ΕΠ | eee a eee al 
Iphigenia. 
Tey en || }}Ἐ Ξε τῇ 
SS Ὁ ἘΞ ΞΕ a eel 
Sho a> ΡΞ ΞΟ : 870 
5 Ὁ) Ὁ Ὁ) 7 τ} ὡρώλες ΠῚ 
ἐν ea a (esl 





METRES AND TECHNIQUE. 03 


X. et a eo eee | 
meee wy | wll 
ωϊ- [|}--|ὨῳὸἽὦὐ }.. Δ ll 875 
Peewee, | aw Iluw > | _ Ail 
πο > || Λ ll 
ωΐξ-αὐίπτωωυ!. ΛΙ 880 
τ lw | Al 
Wee >| /\\ | 
Mio τ }} ὦ]. ὦ | ll ἢ 
Ew we > | /\\ ll 885 
ΟΡ | | | 60 
su | | Ξ lw | we | I 
arene) | Oa | oll S| 2 A890 
Mile —ow | 1 | —A Il 
fae | ow | ow | _ All 895 
Pao, | i. | Δ il ‘ 
ω:υὑσυ ψπτωυυ! SIN I 
ee wey | ὦυ}]--- | AI 
Paes | /\ I 











I. tr.4.d.d.(A trimeter is balanced by two dochmii, 4. is mesode). II. tr. 
tr. tr. ΠῚ. dddd.tr.dd.|d. IV. tr.dd.tr.]|d. V. δ. ἃ. 44. 8. 44. (δ. ἃ. 
is prodde). VI. tr. tr. dd. dd. VII. τσ. | dd. dd. dd.| 8 bacchies. VIII. 
tr, 44.tr.|4. IX..dd.dd.dd.|d. X. 4.4|3.dd.d.3.dd.d. XI. 4.4.4. 
$3.ddd. XII. 3.4.|3.3.dd.|d. 


The passage illustrates the facility with which melic trimeters 
may be combined with dochmiacs. The part of Orestes is entirely 
in trimeters ; see the note on y. 852. Similarly in the recognition 
scene of Sophocles’ Electra (1232-1287) Orestes maintains the 
restraint of trimeters against dochmiacs of his sister. The Sopho- 
clean composition, however, is antistrophic. 








— EYPHAOT ἸΦΙΓΈΝΕΙΑ 


H EN TAYPOIS. — 





TA TOT APAMATOS ΠΡΟΣΩΠΑ. 


I®ITENEIA. ΒΟΥΚΟΛΟΣ. 

OPESTHS. ΘΟΑΣ. 

ΠΥΛΑΔΗΣ. ΑΓΓΕΛΟΣ. 
ΑΘΗΝΑ. 


ΧΟΡΟΣ EAAHNIAON ΤὙΝΑΙΚΩΝ. 





ΠΥΡΙΠΙΔΟΥ 


IDITENEITA 


H EN TAYPOIS 


IPITENEIA. 


Πέλοψ ὁ Ταντάλειος eis Πῖσαν μολὼν 


A YY a 
θοαῖσιν ἵπποις Οἰνομάου γαμεῖ κόρην, 


ἐξ ἧς ᾿Ατρεὺς eBactev: ᾿Ατρέως δ᾽ ἅπο 


> an 
Μενέλαος ᾿Αγαμέμνων τε: τοῦ δ᾽ ἔφυν ἐγώ, 


δ τῆς Τυνδαρείας θυγατρὸς ᾿Ιφιγένεια παῖς, 


ἣν ἀμφὶ δίναις, ἃς θάμ’ 


I. ῬΒΟΙΟΘΟΒ, vs. 1-122. 

The scene represents the temple of 
Artemis of the Taurians. Iphigenia 
enters from the temple in the garb of 
priestess, unattended. 

1 f. Oenomaus, a son of Ares, and 
king of Pisa in Elis, had been warned 
by an oracle that the spouse of his 
daughter Hippodamia should slay 
him. He accordingly challenged 
every suitor for her hand to a chariot- 
race, the prize of victory to be the 
maid, but death the vondition of de- 
feat. Pelops won by bribing Myr- 
tilus, the charioteer of Oenomaus, 
who secretly removed the linch-pin 
of his master’s chariot. The car 
broke down, Pelops slew Oenomaus 
with his lance, and carried off Hippo- 
damia. As they drove home, Pelops 
hurled Myrtilus over the cliffs into the 
sea, to avoid redeeming his pledges. 
This crime is mentioned Or. 990, 1548, 
Soph. Δ]. 509, but not in the present 
play. See vs. 824 f.— θοαῖσιν : the 


ΕἾ fal 
Ευριπος πυκναῖς 


Greeks said 6 ἵππος but generally αἱ 
ἵπποι, cf. v. 192. — ἵπποις : const. with 
μολών. The first pause in reciting 
comes after ἵπποις, cf. the quotation 
and travesty by Aristophanes, Introd. 
p. 3, ib. p. 25, foot-note. The steeds 
were naturally a prominent feature 
in the legend, the gift of Poseidon 
according to Pindar, cf. ἔδωκεν δίφρον 
τε χρύσεον πτέροισίν τ᾽ akduavras ἵππους 
Ol. i.140. 

5. τῆς TuvSapelas θυγατρός : cf. vs. 
806 f. and see the family tree, Introd. 
p. 8. For the adj. instead of a gen. 
of the proper name, cf vs. 1, 170, 1115, 
1290, ὦ Tuvdapela παῖ Κλυταιμνήστρα 
Iph. Aul. 1582. 

6 f. Whom hard by the eddying waters 
that Euripus with incessant gusts sets 
whirling as he rolls the blue sea back, 
etc. Cf. Livy’s description of the 
spot: haud facile alia infes- 
tior classi statio est. nam 
et venti ab utriusque terrae 
praealtis montibus (cf. ἐν πτυ- 


08 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


¥ ἘΝ» ΄ τ ΄ 
αὔραις ἑλίσσων κυανέαν ata στρέφει, 
ἔσφαξεν “Ἑλένης εἵνεχ᾽, ὡς δοκεῖ, πατὴρ 
᾿Αρτέμιδι κλειναῖς ἐν πτυχαῖσιν Αὐλίδος. 


10 ἐνταῦθα γὰρ δὴ χιλίων ναῶν στόλον 
“Ἑλληνικὸν συνήγαγ᾽ ᾿Αγαμέμνων ἀναξ, 
τὸν καλλίνικον στέφανον ᾿Ιλίου θέλων 
λαβεῖν ᾿Αχαιούς, τούς θ᾽ ὑβρισθέντας γάμους 
‘Edevns μετελθεῖν Μενέλεῳ χάριν φέρων. 


16 δεινῆς δ᾽ ἀπλοίας, πνευμάτων οὐ τυγχάνων, 


els ἔμπυρ᾽ ἦλθε, καὶ λέγει Κάλχας rade: 
ὦ τῆσδ᾽ ἀνάσσων Ἑλλάδος στρατηγίας, 


᾿Αγάμεμνον, οὐ μὴ ναῦς ἀφορμίσῃ χθονός, 


χαῖσιν v. 9, κατὰ πτυχάς vy. 1082) 
subiti ac procellosi se deici- 
unt, et fretum ipsum Euripi 
non septiens die, sicut fama 
fert, temporibus statis reci- 
procat, sed temere in modum 
venti nunie hue nunc) ile 
verso mari velut monte prae- 
cipiti devolutus torrens rapi- 
tur. ita nec nocte nec die 
quies navibus datur. xxviii. 6. 

8 f. Ἑλένης εἵνεκα: said bitterly, 
indicating Helen as the cause of the 
war and all the troubles that grew 
out of it, cf vs. 356, 439 ff., 521-526. 
— ὡς δοκεῖ: as he supposed, cf. v. 785; 
most naturally interpreted as_ hist. 
pres. The seeming separation of 
δοκεῖ from πατήρ (by punctuation) is 
modern, not antique; there is no 
pause in reciting. —kAewats: see on 
ἱερός v. 1452. 

10. ἐνταῦθα yap δή : for there it was, 
εἰς. ---χιλίων ναῶν: thus constantly 
in round numbers of the armament 
against Troy, cf. v. 141. 

12. τὸν. .. Ἰλίου: the illustrious 
crown of conquered Troy. Poetic phrase, 


the relation of Ἰλίου being objec- 
tive. 

14. μετελθεῖν : vindicate, reverts to 
θέλων v. 12 for its subject. — χάριν 
φέρων : to gratify, answers to the Ho- 
meric ἦρα φέρων. For the pres. par- 
ticiple, see on αὔξοντες v. 412. 

15. ἀπλοίας : may be const. as tem- 
poral gen., although the text is un- 
certain. The “dire delay” is here 
apparently occasioned by lack of 
wind, so Soph. 1]. 564. In Aeschylus 
Ag. 192 the trouble is aggravated by 
contrary winds. Euripides merely 
says ἥμεσθ᾽ ἀπλοίᾳ χρώμενοι κατ᾽ Αὐλίδα 
Iph. Aul. 885  * 

16 ff. In order to learn the will of 
heaven in the matter, Agamemnon 
resorts to burnt offerings (ἔμπυρα, 
ignispicium), and these are inter- 
preted to him by the seer Calchas 
vs. 17-24 (ὦ τῆσδε... θῦσαι). The 
parenthesis v. 23 is interjected by 
Iphigenia. 

18 f. ov pr... ἀφορμίσῃ κτλ. : thou 
wilt surely never get thy ships off from 
the shore, until, etc. For the const, 
see G. 1360, H. 1032. 


με. 
laf 
1. 


IPHIGENIA AMONG THE TAURIANS. 59 


πρὶν ἂν κόρην σὴν ᾿Ιφιγένειαν “Aptepis 


20 λάβῃ σφαγεῖσαν. 0 τι γὰρ ἐνιαυτὸς τέκοι 


,ὔὕ » , , a 
κάλλιστον, evo φωσφόρῳ θύσειν θεᾷ. 


AQ? Ss > =A Ν 7 / 
παῖὸ οὖν ἐν οἴκοις σὴ Κλυταιμνήστρα dana 
μ μ 


‘i 
τίκτει (τὸ καλλιστεῖον εἰς ἔμ᾽ ἀναφέρων), 


ἣν χρή σε θῦσαι. 


’ὕ 5» 5 4 72 
καί μ Οδυσσέως τέχναι 


25 μητρὸς παρείλοντ᾽ ἐπὶ γάμοις ᾿Αχιλλέως. 


ἐλθοῦσα δ᾽ Αὐλίδ᾽ ἡ τάλαιν᾽ ὑπὲρ πυρᾶς 


μεταρσία χηφθεῖσ᾽ ἐκαινόμην Eide: 


ἀλλ᾽ ἐξέκλεψεν ἔλαφον ἀντιδοῦσά μου 


ἼΑρτεμις ᾿Αχαιοῖς, διὰ δὲ λαμπρὸν αἰθέρα 


80 πέμψασά p εἰς τήνδ᾽ ῴκισεν Ταύρων χθόνα, 


οὗ γῆς ἀνάσσει βαρβάροισι βάρβαρος 


’ ἃ 5 Ν “ὃ θ Ν » lal 
Θόας, OS ὠκὺν ποοᾶ TLUELS LOOV πτέροις 


201. Cf Agamemnon cum de- 
vovisset Dianae quod in suo 
regno pulcherrimum natum 
esset illo anno, immolavit 
Iphigeniam, qua nihil erat eo 
quidem anno pulchrius Cic. 
De offic. iii. 25.—«ddAdtorov: for the 
position, see on γ΄. 979, and cf. the 
arrangement in the Ciceronian pas- 
sage. — dwodopw: Luciferae, so 
called as goddess of the moon. Arte- 
mis and Hecate were identified, al- 
though originally distinct divinities. 

22. παῖδα: .emphatically placed. 
Agamemnon had used τεκεῖν figura- 
tively in his vow, of the fruitful year, 
but-in the fulfilment the word is 
pressed upon him literally. 

23. The words in parenth. are 
adapted grammatically to λέγει Κάλ- 
xas ΥΥ. 1θ0. --- τὸ καλλιστεῖον : said 
with irony, referring to κάλλιστον Y. 
21. The meed of beauty was death. 
She was born with ‘the fatal gift.’ 

24 f. The pretended marriage was 


a device of Odysseus in order to in 
veigle Iphigenia from her home. 

27. Note the halting rhythm of 
this line. — μεταρσία ληφθεῖσα : a 
graphic expression, answering to Aa- 
βεῖν ἀέρδην in Aeschylus’ description, 
sublata virum manibus in Lu- 
cretius. See the passages quoted 
Introd. pp. 10 f. — ἐκαινόμην : a true 
imperfect, so vs. 60, 900, 920. 

31. γῆς ἀνάσσει : ἀνάσσει is followed 
first by ἃ gen. as ν. 10, and then by 
a dat. (βαρβάροισι BdpBapos), slightly 
modifying the relation. 

32 f. The etymologizing with the 
proper name (as if Θόας were from 
Gods) is wholly gratuitous, since Thoas 
displays no fleetness in the tragedy. 
The same idea is travestied by Aristo- 
phanes: Θόας, βραδύτατος ὧν ἐν ἀνθρώ- 
mois δραμεῖν Frag. 9524. --- πόδα. .. 
πτεροῖς : plying a foot as good as wings. 
ἴσον is not pred., but πόδα τιθέναι is 
equiv. to βαίνειν. Cf. διὰ μέσου yap 
αἰθέρος | τέμνων κέλευθον πόδα τίθηιι᾽ 


60 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


3 ¥ » > , ΄ , 
εἰς τοὔνομ᾽ ἦλθε τόδε ποδωκείας χάριν. 


lal > 5 A > ε 4 4 a 
VQOLOL ὃ εν τοισὸ LEPLOV τίθησί με: τ 


ο A ν 4, 
35 ὅθεν νόμοισι, τοῖσιν ἥδεται θεά, 


χρώμεσθ᾽ ἑορτῆς, τοὔνομ᾽ ἧς καλὸν μόνον, 
τὰ δ᾽ ἄλλα --- σιγῶ τὴν θεὸν φοβουμένη. 


4 , 3, lal , Ν Ν / 
θύω γάρ, OVTOS του νομου και πριν πόλει, 


ὃς ἂν κατέλθῃ τήνδε γῆν Ἕλλην ἀνήρ᾽ 


40 κατάρχομαι μέν, σφάγια δ᾽ ἄλλοισιν μέλει 


Ε > » A > 9 , ater 
appnt ἔσωθεν τῶνὸ ἀνακτόρων θεᾶς." 


ἃ καινὰ δ᾽ ἥκει νὺξ φέρουσα φάσματα 
, \ 52 7 9 » \ 5» > » 
λέξω πρὸς αἰθέρ᾽, εἴ τι δὴ τόδ᾽ ἔστ᾽ ἄκος. 


ἔδοξ᾽ ἐν ὕπνῳ τῆσδ᾽ ἀπαλλαχθεῖσα γῆς 


ὑπόπτερον | Περσεύς Ar. Thesm. 1100 
(from Euripides’ Andromeda). 

34. τίθησι : sc. “Apremis. 

35 f. ὅθεν νόμοισι x paper Oa: whence 
it comes that I practise rites. —rotow: 
rel., H. 275 1). νόμοισιν οἷσιν would 
have been cacophonous. 

37. τὰ 8 ἄλλα: (i.e. τὰ δ᾽ ἔργα). ai- 
σχρά ἐστι She would have said. Such 
a name as Ταυροπόλια, e.g. would con- 
vey no suggestion of human sacri- 
fice. “The name is fair, but all the 
rest is base.” , 

38. ὄντος KTA.: 1.6. the custom was 
established among the Taurians be- 
fore Iphigenia was made priestess. 

39. Cf. θύουσι μὲν τῇ παρθένῳ τούς τε 
ναυαγοὺς καὶ τοὺς ἂν λάβωσι Ἑλλήνων 
ἐπαναχθέντας Hdt. iv. 108. For the 
arrangement here, see on v. 979, and 
cf. the note on y. 72. 

40. Explanatory asyndeton. The 
generic word θύω is here resolved 
into its specific parts. In what 
the initiatory rite (katdpyoua) con- 
sisted may be seen from ys. 54, 442, 
622. 

42. Ke φέρουσα: has brought with 


it. ἥκειν often approaches the force 
of a mere auxiliary verb, ef. ἥκω σαφῆ 
τἀκεῖθεν ἐκ στρατοῦ φέρων Aesch. Sept. 
40. See also on v. 258. The similar 
idiom with οἴχεσθαι is rather more 
familiar. 

43. It was customary to declare a 
bad dream to the sun-god, with a view 
to averting its consequences. So also 
to confide troubles of any kind to the 
elements, and Euripides is thus often 
helped to a motive for a soliloquy, ef. 
ἐγὼ γὰρ els τοῦτ᾽ ἐκβέβηκ᾽ ἀλγηδόνος, | 
ὥσθ᾽ ἵμερός μ᾽ ὑπῆλθε γῇ τε κοὐρανῷ [᾿ 
λέξαι μολούσῃ δεῦρο δεσποίνης τύχας 
Med. ὅθ. We see from vs. 42 f. that 
the assumed time is morning, as usu- 
ally at the opening of a Greek play, 
Chava 161. 

44. ἔδοξ᾽ ἐν ὕπνῳ: “methought.” 
Obs. that the dependent infinitives 
are all contemporaneous with the 
leading verb, and differ only as the 
impf. and aor. indic. would differ 
(ῴκουν, ἐσείσθη, ἔφευγον, εἰσεῖδον). 
Further, that ἔδοξα does duty also for 
an ἔδοξεν (impers.) with σεισθῆναι vy. 
46. Cf. vs. 50 ff., 279 f. 


IPHIGENIA AMONG THE TAURIANS. 61 


SA ¥ 
45 οἰκεῖν ἐν Apye, παρθένοισι δ᾽ ἐν μέσαις 


εὕδειν, χθονὸς δὲ νῶτα σεισθῆναι σάλῳ, 


φεύγειν δὲ κάξω στᾶσα θριγκὸν εἰσιδεῖν 


δό ΄ “ 5 5 ΄ ,ὕ 
ὁμων πίτνοντα, πᾶν ὃ ερείψιμον στέγος 


βεβλημένον πρὸς οὖδας ἐξ ἄκρων σταθμῶν. 


50 μόνος δ᾽ ἐλείφθη στῦλος, ὡς ἔδοξέ μοι, 


δό 4 3 > > , ’ὔ’ 
ομων παάτρῳων, εκ ὃ επικράνων κομας 


ξανθὰς καθεῖναι, φθέγμα δ᾽ ἀνθρώπου λαβεῖν, 


i aS , FEN A », ΄ 
καγω TEX HV τήνὸ nV ἔχω ἕενοκτόνον 


μὰ μον δ ΄, : cys ε , 
τιμωσ Vdpaivew αυτον ὡς θανούμενον, 


55 κλαίουσα. 


τοὔναρ δ᾽ ὧδε συμβάλλω τόδε" 


τέθνηκ᾽ ᾿Ορέστης, οὗ κατηρξάμην ἐγώ. 


΄“ Ν 3», lal , 5 »” 
στῦλοι γαρ οἰκὼων παῖδές εισιν APOEVES * 


θνήσκουσι δ᾽ ods ἂν χέρνιβες βάλωσ᾽ ἐμαί. 


61 νῦν οὖν ἀδελφῷ βούλομαι δοῦναι χοὰς 


Zi 5 τ ὦ las \ ΄ >» 
TA POUT αποντι, TAVTA yap δυναίμεθ αν, 


45 f. παρθένοισι..... εὕδειν: so in 
Homer ¢ 18 f., when Athena comes 
in a dream to the sleeping Nausicaa, 
the princess’ maids are with her. — 
σάλῳ : properly of the tossing of 
waves, cf. v. 262. 

47. κάξω: καὶ ἔξω. 

48 f. And the whole building cast in 
ruins to the ground from its topmost 
beams. — ἐξ ἄκρων σταθμῶν : equiv. to 
κατάκρας. 

50. μόνος... στῦλος : but there was 
a pillar left standing alone. 

51 f. é€mixpavev: a syllable long 
by position before a smooth or rough 
mute and a liquid beginning the sec- 
ond part of a compound word, is very 
rare in tragedy. —kopas: obj. of 
καθεῖναι. We should be rather in- 
clined to say “hair flowed down.” It 
is dreamlike to make the capital of a 
column become the ead of a man, 


52-54. The infinitives depend on 
ἔδοξεν, ἔδοξα, implied in the parenthe: 
tic ὡς ἔδοξέ μοι v. 0. --- τιμῶσα: in 
due observance of. 

55 ff. The dream was intended as 
a warning to Iphigenia of the coming 
event. She makes the mistake of in- 
terpreting it with reference to the 
past instead of the future. Her mis- 
take complicates matters in the play, 
see Introd. p. 18. 

56. οὗ κατηρξάμην ἐγώ: he it was 
whom I consecrate εἰ. 

62. παροῦσ᾽ ἀπόντι: see on v. 621. 
Of. τοιγὰρ θέλουσ'᾽ ἄκοντι κοινώνει 
κακῶν, ψυχή, θανόντι ζῶσα συγ- 
γόνῳ φρενί Aesch. Sept. 1033, — 
ταῦτα: emphatic. “Thus much at 
least I can do, although his remains 
are not here to receive the customary 
funeral services from my hand.” See 
vs. 627 ff. 


62 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENETA. 


Ν 4 a »» 3 ε “A » 
σὺν προσπόλοισιν, ἃς ἔδωχ᾽ ἡμῖν ἀναξ 


Ἑλληνίδας γυναῖκας. 


ἀλλ᾽ ἐξ αἰτίας 


By ’ὔ fy) ” / 
65 οὔπω τινὸς πάρεισιν, εἶμ᾽ εἴσω δόμων 


5 ᾿ν bs a 3 3 Ψ la) 
ἐν οἷσι ναίω τῶνδ᾽ ἀνακτόρων θεᾶς. 


ΟΡΕΣΤΗΣ. 


ὅρα, φυλάσσου μή τις ev στίβῳ βροτῶν. 


ΠΥΛΑΔΗΣ. 


ὁρῶ, σκοποῦμαι δ᾽ ὄμμα πανταχοῦ στρέφων. 


ΟΡΕΣΤΗΣ. 


Πυλάδη, δοκεῖ σοι μέλαθρα ταῦτ᾽ εἶναι θεᾶς, 


70 ἔνθ᾽ ᾿Αργόθεν ναῦν ποντίαν ἐστείλαμεν ; 


ΠΥΛΑΔΗΣ. 


» 5 > ; ao Νὴ Ν “Ὁ ’ 
ἐμοιγ; Opeota ° σοι δὲ συνδοκεῖν χρεῶν. 


ΟΡΕΣΤΗΣ. 


καὶ βωμός, “Ἄλλην οὗ καταστάζει φόνος ; 


64. ἀλλά: instead of the usual ἀλλὰ 
... yap, cf. v. 118. 

65 f. ἀνακτόρων: possessive gen. 
with δόμων, “my apartments in the 
goddess’ temple here.” vit. 

For the first sixty-six lines of the 
prologes considered in relation to the 
artistic structure of the play, see 
Introd. pp. 24-26, 


Orestes and Pylades enter furtively. 
The questions of the former, who at 
first remains cautiously behind, are 
adapted to descriptions that he has 
heard of the place; but his compan- 
ion, advancing farther, is enabled 
to confirm the marks by what he 
sees. 


67. μή tis: sc. ἐστίν. 

69 f. The distich is balanced by v. 
75 f. The symmetry of a stichomy- 
thia is often disturbed by two verses, 
sometimes by more than two. The 
occurrence of such an interruption 
marks a change in the subject of 
discourse, or a pause in the action. 
See Introd. p. 40. 

71. σοὶ δὲ κτλ.: ἐμοὶ συνδοκεῖ ταῦτα 
is what Orestes would say. —xpewv: 
80, ἐστιν. Equiv. to χρή, see on v. 903. 

72. "EXAnv φόνος : blood of slaugh- 
tered Greek. Note the emphatic posi- 
tion of the adj. before the relative, 
also the comprehensive effect of “Ἕλλην 
first and φόνος last. Cf. vs. 42, 53, and 
so often. 


IPHIGENIA AMONG THE TAURIANS. 65 


TIYAAAHS. 


ἐξ αἱμάτων γοῦν av ἔχει θριγκώματα. 


ΟΡΕΣΤΗΣ. 


ἴω > ε 3 5 A“ nw 5 ν > ’ 
θριγκοῖς δ᾽ ὑπ᾽ αὐτοῖς σκῦλ᾽ ὅρᾳς ἠρτημένα; 


ΠΥΛΑΔΗΣ. 


» ’ 5 5 7 , 
75 τῶν κατθανόντων Ύ ἀκροθίνια ξένων. 


ἀλλ᾽ ἐγκυκλοῦντ᾽ ὀφθαλμὸν εὖ σκοπεῖν χρεών. 


OPESTHS. 


5 A a 5 > , > > ¥ Ἂν 
ω Φοῖβε, TOL μὶ αν τήνὸ ες APKUYV γάᾶγες 


χρήσας, ἐπειδὴ πατρὸς αἷμ᾽ ἐτεισάμην 


μητέρα κατακτάς; διαδοχαῖς δ᾽ ᾿Ἐριύων 


80 ἠλαυνόμεσθα φυγάδες, ἔξεδροι χθονός, 


δρόμους τε πολλοὺς ἐξέπλησα καμπίμους. 


ἐλθὼν δέ σ᾽ ἠρώτησα πῶς τροχηλάτου 


’, Ἃ » 3 > , , 3 ΕἸΣΙ Τὰ 
μανίας av ἔλθοιμ᾽ εἰς τέλος πόνων T ἐμῶν. 


73. θριγκώματα: 1.6. the coping of 
the altar, which was doubtless a con- 
spicuous object in front of the temple. 

74. ὑπ᾽ αὐτοῖς : the intensive pron. 
specifies the θριγκώματα (θριγκοί) 
apart from the Bwuds. “And under 
that.” 

75. γέ: ay.— ἀκροθίνια ξένων : per- 
haps the heads of the victims are 
meant. It was said of the Taurians, 
caesorum capita fani parieti- 
bus praefigebant. τὴν δὲ κεφα- 
λὴν ἀνασταύρουσι Hat. iv. 105. 

76. Suggestive of the by-play of 
Pylades during the following apos- 
trophe of Orestes. 

77.“ Whither again into this snare?” 
Orestes had already been twice de- 
luded (as he believed) by the oracle, 
see Introd. pp. 7f. The significance 
of αὖ is helped by ἐπειδὴ κτλ. ν. 78. 

79. διαδοχαῖς : by re/ays of Furies, 
cf. v. 941. A metaphor from the 


chase, cf. οὐκ ἣν λαβεῖν [τοὺς ivous ], 
ei μὴ διαστάντες οἱ ἱππεῖς θηρῷεν δια- 
δεχόμενοι Xen. An. 1. ὃ. 

80. ἠλαυνόμεσθα: pl. for sing., 
cf. vs. 36, 62, and see on συ. 348. — 
ἔξεδροι χθονός : poetic expansion of 
ex or ἔξω χθονός, cf. οὐκ ἔξεδρος, ἀλλ᾽ 
ἔντοπος ἁνήρ, “our man is not gone, 
but here,” Soph. Phil. 211. ἡ 

81. And ran many doubling stretches 
to the end. A metaphor from the 
δρόμος δίαυλος, or foot-race of the 
double course. — καμπίμους : said 
with reference to turning the post 
(κάμπτειν) in the race, cf. v. 815. 

82. ἐλθών: 1.6. to the Delphian 
shrine, see vs. 972 ff.— τροχηλάτου : 
The poet elsewhere uses the 
verb τροχηλατεῖν of the maddened 
Orestes, cf. δειναὶ δὲ Kijpés σ᾽ ai κυνώπι- 


whirling. 


δες θεαὶ | τροχηλατήσουσ᾽ ἐμμανῆ mAa- 


νώμενον Il, 1252, τὺ μητρὺς δ᾽ αἷμά 


νιν τροχηλατεῖ | paviaow Or, 36. 


64 EYPITIAOY I®ITENEIA. 


85 σὺ δ᾽ εἶπας ἐλθεῖν Ταυρικῆς μ᾽ ὅρους χθονός, 


» Seay , , Ν A 
ἔνθ᾽ "Λρτεμίς σοι σύγγονος βωμοὺς ἔχει, 
λαβεῖν 7 ἄγαλμα θεᾶς, ὅ φασιν ἐνθάδε 


5 Ν lal lol »»» 
εις τούσδε ναους οὐρανοῦ πέσειν ATO* 


λαβόντα δ᾽ ἢ τέχναισιν ἢ τύχῃ τινί, 


90 κίνδυνον ἐκπλήσαντ᾽, ᾿Αθηναίων χθονὶ 


δοῦναι: τὸ δ᾽ ἐνθένδ᾽ οὐδὲν ἐρρήθη πέρα" 


Ν lal , 5 5 Ν ν͵ / 
και ταυτα δράσαντ αμπνοας ἕξειν ΤΟΨνΩων. 


ἥκω δὲ πεισθεὶς σοῖς λόγοισιν ἐνθάδε 


¥ Z > va » A mG “ 
αγνωστον εἰς γὴν, ἀξενον. ---- σὲ ὃ LOTOPH, 


9 Πυλάδη, σὺ γάρ μοι τοῦδε συλλήπτωρ πόνου, 


τί δρῶμεν; ἀμφίβληστρα γὰρ τοίχων ὁρᾷς 
ὑψηλά. πότερα κλιμάκων προσαμβάσεις 


ιἐκβησόμεσθα; πῶς ἂν οὖν λάθοιμεν ἄν; 


85. εἶπας : of the divine command. 
Hence followed by the inf., GMT. 
99. 

86. "Αρτεμίς σοι σύγγονος x7A.: the 
oracle might have said simply σύγ- 
yovos, leaving it doubtful whose sister 
was meant. There is nothing to prove 
that Euripides thought of such an am- 
biguity, but Goethe adopts it in his 
Iphigenie: ‘ Bringst du die Schwester, 
die an Tauris Ufer | Im Heiligthume 
wider Willen bleibt, | Nach Griechen- 
land, so loset sich der Fluch.’ Cf. v. 
1015. 

87 f. θεᾶς : pronounced as a mono- 
syllable in the verse, as often with 
forms of θεός or θεά, see on y. 270. 
—6 φασιν κτλ.: a divine origin was 
generally ascribed to ξόανα, wooden 
idols of immemorial antiquity. 

89. ἢ τύχῃ τινί: the happy event 
of the drama is covertly indicated in 
these words. 

91. τὸ δὲ... πέρα: as for the rest 
not a word was said further. 


92. ἕξειν : this inf. represents not a 
command but a declaration of the 
oracle; the god said ἕξεις. 

94 f. σὲ δὲ κτλ.: the apostrophe to 
Apollo is at an end, and Pylades is 
addressed. The parenthesis σὺ yap 
...mdvov prevents abruptness in the 
transition. 

96-98. ἀμφίβληστρα τοίχων : the 
environing walls of the temple itself ; 
equiv. to τοίχους ἀμφιβεβλημένους, cf. 
ἐκβολὰς νεώς v. 1424. — dda: pre- 
dicative, sc. ὄντα. --- πότερα... . ἐκβη- 
σόμεσθα: shall we mount to our goal by 
a ladder’s rungs? Perhaps, however, 
κλιμάκων προσαμβάσεις is merely a 
periphrasis for the ladder itself, by 
means of which the scaling (mpocava- 
βαίνειν) is done, cf. ἀνὴρ ὁπλίτης κλί- 
μακος προσαμβάσεις- | στείχει πρὸς 
ἐχθρῶν πύργον, ἐκπέρσαι θέλων Aesch. 
Sept. 466, προσφέρειν | πύργοισι πη κ- 
τῶν κλιμάκων προσαμβάσεις- 
Phoen. 489. --- πότερα: correl. with ἤ 
ν. 99.— ἐκβησόμεσθα: ἐκ in comp. is 


IPHIGENIA AMONG THE TAURIANS. 65 


ἢ χαλκότευκτα κλῇθρα λύσαντες μοχλοῖς, 


- Ν » Xx 
100 ὧν οὐδὲν ἴσμεν; ἢν δ᾽ ἀνοίγοντες πύλας 


ληφθῶμεν εἰσβάσεις τε μηχανώμενοι, 


θανούμεθ)᾽. 


ἀλλὰ πρὶν θανεῖν, νεὼς ἔπι 


φεύγωμεν, ἧπερ δεῦρ᾽ ἐναυστολήσαμεν. 


ΠΥΛΑΔΗΣ. 


, \ 5 > Ν 509 Diz, 
φεύγειν μὲν οὐκ ἀνεκτὸν οὐδ᾽ εἰώθαμεν, 


Ἂς lal 0 Qn Ν 5 , 
105 Tov Tov ὕεου τε χρησμὸν οὐ κακιστέον" 


ναοῦ δ᾽ ἀπαλλαχθέντε κρύψωμεν δέμας 


κατ᾽ avTp ἃ πόντος νοτίδι διακλύζει μέλας, 


‘ »¥ ΄ 5 Ν , 
νεὼς ἄπωθεν, μὴ τις εἰσιδὼν σκάφος 


βασιλεῦσιν εἴπῃ κἄτα ληφθῶμεν βίᾳ. 


110 ὅταν δὲ νυκτὸς ὄμμα λυγαίας μόλῃ, 


τολμητέον τοι ἕεστὸν ἐκ ναοῦ λαβεῖν 


ἄγαλμα πάσας προσφέροντε μηχανάς. 


used of coming to the end sought, as 
in ἐξήκειν, ἐξικνεῖσθαι. Cf. also vs. 81, 
90, κλίμακ᾽ ἐκπέρα ποδί Phoen. 100. 

99 f. Forcing the bolted doors with 
crowbars is suggested as a second way 
of effecting an entrance. — ὧν οὐδὲν 
ἴσμεν : these words do not yield a satis- 
factory sense in the connexion, al- 
though there is nothing objectionable 
in the ellipse of the principal verb after 
%. Great uncertainty attaches to the 
text of the whole passage vs. 97-100. 

102 f. ἀλλά: nay; see on v. 999. 
The suggestion to relinquish an ap- 
parently desperate undertaking is 
perfectly natural in Orestes, despond- 
ent and sceptical as his experiences 
have made him. He is not wanting 
in courage, but needs the support 
and stimulus of another spirit un- 
shaken by guilt and_ persecution. 
Moreover, this dangerous enterprise 
is wholly for Orestes’ sake; hence, in 


view of the unselfishness which later 
in the play is seen to mark both the 
friends, it is natural that Pylades 
should be the more forward here, and 
that Orestes should shrink from the 
fatal consequences that are likely to 
overtake his companion. 

104 f. οὐδ᾽ εἰώθαμεν : nor is it our 
wont.— xpynopov: obj. of the verbal, 
see ἃ. 1597, H. 990. — κακιστέον : 
κακίζειν is here clearly equiv. to κακῶς 
λέγειν, as Orestes had spoken ν. 77. 

109. βασιλεῦσιν : generalizing pl., 
as we say the ‘authorities,’ see H. 
636 Ὁ. ---κᾷτα : καὶ εἶτα “and so.” 

110-112. νυκτὸς ὄμμα Avyalas: eve 
of dusky night, poetic phrase for night 
itself, cf. κελαινῆς νυκτὸς ὄμμα, Aesch. 

Pers. 428. --- τολμητέον τοι: we must 
dare, I say.—mdoas . . . μηχανάς: 
bringing all possible contrivances to bear. 
The participle agrees with the agent, 
sc. vw, see the ref. on v. 105. 


66 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


9 ΄ > » , 9 ἈΝ 
ορα δέ Y €LOW τριγλύφων O7TOL KEVOV 


δέμας καθεῖναι. 


N , \ ε Q 
τοὺς πόνους yap ἀγαθοὶ 


115 τολμῶσι, δειλοὶ δ᾽ εἰσὶν οὐδὲν οὐδαμοῦ. 


»¥ Ν Ν » ΄ὔ iL, 
OUTOL μακρὸν μεν ἤλθομεν κωπῇ πόρον, 


5 ’, XN / > lol , 
εκ τερμαάτων δὲ VOOTOV a POULLEV πάλι». 


ΟΡΕΣΤΗΣ. 
> > > \ 5 , A Ἀ 
ἀλλ᾽ εὖ γὰρ εἶπας, πειστέον: χωρεῖν χρεὼν 


ὅποι χθονὸς κρύψαντε λήσομεν δέμας. 


120 


3 ἊΝ Ἂν “ by > yy 7 
OU γαρ TO τοῦδέ Ύ αιτιον γένησεται 


΄-“ ΕἿΣ ͵΄ ΄ 
πεσειν ἄχρηστον θέσφατον: τολμητέον" 


μόχθος γὰρ οὐδεὶς τοῖς νέοις σκῆψιν φέρει. 


ΧΟΡΟΣ. 


3 aA_> x 
εὐφαμεῖτ᾽, ὦ 


πόντου δισσὰς συγχωρούσας 


125 πέτρας Εὐξείνου ναίοντες. 


119 f. ὅρα δέ ye: only see! Pylades 
calls attention to the fact that there 
is opening enough in the frieze for a 
man to let himself down inside (ὅποι 
—by assimilation for ὅπου --- κενόν 
ἐστιν ὥστε δέμας εἴσω τριγλύφων Ka- 
θεῖναι), thus taking up with Orestes’ 
suggestion of ladders vy. 97. In the 
oldest Doric temples, between the 
ends of the cross-beams (later repre- 
sented by the τρίγλυφοι in the stone 
construction) there were open spaces 
(later panels μετόπαι). Cf. Or. 1371, 
where a slave escapes from the palace 
between the triglyphs, Δωρικὰς τριγλύ- 
pous. — ἀγαθοί: of ἀγαθοί. 

116 f. We certainly have not rowed 
this long voyage, only to take up our 
departure home again from the very 
goal. This is in reply to vs. 102 f. 
The neg. οὔτοι logically modifies the 


sent. as a whole, but the second clause 
receives the emphasis of the negation. 
“ After we have come all this way, we 
won’t go back empty-handed.” 
118. ἀλλὰ... γάρ: at enim. H. 
1050, 4 d, cf. v. 646 and the note. 
119. ὅποι χθονός : for ἐκεῖσε ὅπου 
χθονός by assimilation, ef. v. 113.— 
κρύψαντε λήσομεν : denotes purpose, 
as regularly with rel., G. 1442, H. 911; 
for the participle, G. 1586, H. 984: 
‘‘may hide ourselves unobserved.”’ 
120 f. “It shall certainly be no 
fault of mine if the oracle prove vain.” 
- τὸ τοῦδε: equiv. to τοὐμόν, 1.6. ἐγώ. 
122. Exeunt ambo. 


II. Paronos, vs. 123-235. 


The chorus enters the orchestra in 
solemn procession. Of whom it con- 


IPHIGENIA AMONG THE TAURIANS. 67 


ὦ παῖ Tas Λατοῦς, 


’ὔὕ 5 > 7 
Δίκτυνν οὐρεία, 


Ν Ν » ’ 5 4, 
πρὸς σὰν av\av, εὐστύλων 


ναῶν χρυσήρεις θριγκούς, 


ε ᾽’ὔ ν 
180 ὁσίας ὅσιον πόδα παρθένιον 


κλῃδούχου δούλα πέμπω, 


“Ἑλλάδος εὐΐππου πύργους 


καὶ τείχη χόρτων T εὐδένδρων 
135 ἐξαλλάξασ᾽ Ἐὐρώπαν, 


ΩΝ »” ΄σ 
πατρῳων OLK@V ἕδρας. 


sists, and the purpose of its coming, 
has already been seen, vs. 65 ff. See 
also Introd. p. 32, and for the metre 
ib. pp. 44 ff. 

123-125. Admonitory prelude, ad- 
dressed to the public. — εὐφαμεῖτε: 
favyete linguis.—~rovrtov... vat- 
ovres: the Taurians are with poetic 
freedom termed dwellers of the double 
clashing rocks, ete. The Symplegades, 
the mythical key to the Euxine waters, 
are continually named in speaking of 
these regions by Euripides, with his 
impressible fancy for the picturesque 
in nature. See vs. 241, 260, 355, 1589. 
— συγχωρούσας πέτρας: cf. v. 422, 
συνδρόμων.... πετρᾶν Pind. Pyth. iv. 
870. Pindar, l.c., briefly relates what 
the Symplegades were, δίδυμαι yap 
ἔσαν (wal, κυλινδέσκοντό τε κραιπνότεραι 
[ἢ βαρυγδούπων ἀνέμων στίχες. 

126-136. Addressed to the goddess. 

126. τᾶς Λατοῦς: τῆς Λητοῦς. For 
the dialectic form, see Introd. p. 45. 
So above, εὐφαμεῖτε for εὐφημεῖτε, be- 
low σὰν abAdy for σὴν αὐλήν, δούλα for 
δούλη, Ἑὐρώπαν for Εὐρώπην, etc. 

127. Dictynna of the mountains, a 
Cretan name of Artemis, as goddess 
of the chase (δίκτυον “ hunting-net”’), 
cf. τὰν πολύθηρον Δίκτυνναν Hipp. 145. 


128 f. evotvdwv .. . θριγκούς : the 
gilded cornice of thy pillared fane ; part 
for the whole, grammatically in app. 
to αὐλάν. This poetic phrase brings to 
view the most striking characteristic 
features of a temple, cf. αὐδῶ μὴ xplu- 
mre θριγκοῖς | μηδ᾽ εἰς χρυσήρεις οἴκους 
Ton. 156, of the temple at Delphi; 
‘Built like a temple, where pilasters 
round | Were set, and Doric pillars 
overlaid | With golden architrave’ 
Milton P. 1. i. 713. 

130 f. A holy guardian’s slave, my 
holy virgin foot I quide.— πόδα πέμπειν 
is a most appropriate expression for 
a solemn march (rout). — κλῃδού- 
xov: of Iphigenia as warder-of the 
temple. In some of the antique 
pictorial designs taken from the 
present legend, the priestess is to be 
recognized by the key which she 
carries. Similarly she is termed πυ- 
Awpds ν. 1153, cf. v. 1468. 

132-135. The accusatives are the 
direct objects of ἐξαλλάξασα, cf. ἱερὸν 
Τμῶλον ἀμείψασα Bacch. 65, said of 
themselves by the chorus who have 
passed from Asia into Europe.—x¢p- 
των: gen. of property with Εὐρώπαν, 
a const. the reverse of ‘EAAd5os πύρ- 


yous καὶ τείχη. Obs. the chiastic ar- 


68 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


»Ά Ῥ; , 4 Τφ» » 
ἔμολον : τί νέον; τίνα φροντίδ ἔχεις; 


τί με πρὸς ναοὺς ἄγαγες ἄγαγες, 
ὦ παῖ τοῦ τᾶς Τροίας πύργους 


140 


ἐλθόντος κλεινᾷ σὺν κώπᾳ 


χιλιοναύτᾳ μυριοτευχεῖ, 


σπέρμ᾽ ᾿Ατρειδᾶν τῶν κλεινῶν; 


ΙΦΙΓΕΝΕΙΑ. 


aN ’ 
ἰὼ ὃμωαΐί, 


δυσθρηνήτοις ὡς θρήνοις 


145 


» 
ἔγκειμαι, τὰν οὐκ εὔμουσον 


μέλπουσα βοὰν ἀλύροις ἐλέγοις, 


5 nw 4 » 
αἰαυ, κηδείοις OLKTOLS, 


a ΄ Paes ys 
οἷαί μοι συμβαίνουσ᾽ ara, 


p. 5 IY fe 
σύγγονον ἀμὸν κατακλαιομένα, 


ζωᾶς ἀπλακόνθ᾽, 


rangement (ab, ba) in these lines. 
— The land of the Taurians is thought 
of as Asiatic, and Europe with its 
woody tracts is regretfully contrasted 
with the barrenness that here pre- 
vails, cf. vs. 218 f. 

137-142. Addressed to Iphigenia, 
who enters from the temple, with an 
attendant bearing the drink-offering 
in a golden urn. — Metrically, the pas- 
sage approaches nearly to a regular 
anapaestic system, but the Dorisms 
show that the lyrical character is 
maintained: a@yayes for ἤγαγες, τᾶς for 
τῆς, κλεινᾷ κώπᾳ χιλιοναύτᾳ for κλεινῇ 
κώπῃ χιλιοναύτῃ, ᾿Ατρειδᾶν for ᾽Ατρει- 
δῶν. 

139 ff. ὦ παῖ κτλ.: cf ὦ τοῦ στρα- 
τηγήσαντος ἐν Τροίᾳ ποτὲ | ᾿Αγαμέμ- 
vovos mat Soph. El. 1.— κώπᾳ here 
for armament, just as δόρυ often for 
army.— μυριοτευχεῖ: of the number 
of men, τεῦχος being a poetic equiva- 


lent of ὅπλον, as τευχηστής, Aesch. 
Sept. 644, is of ὁπλίτης. 

143-151. Both phraseology and 
structure are highly characteristic of 
the lyrical style of tragedy. δυσθρή- 
νήητοι θρῆνοι, οὐκ εὔμουσος Bon, ἄλυροι 
ἔλεγοι are similar expressions and vir- 
tual repetitions of one thought. The 
rel. clauses introduced by οἷαι and 
οἵαν are causal and exclamatory, like 
ὡς at the beginning. How am I plunged 
in lamentations deep, chanting the ery 
unmusical, with dirges meet not for the 
lyre —wailings, alas, for kindred gone, 
such are the afflictions that befall me! 

146. ἀλύροις : funereal hymns called 
for an accompaniment by the Phry- 
gian flute, not the lyre. Of, τὸν δ᾽ 
εν θρῆνον Ἐρινύος Aesch. 
Ag. 990, οὐ νάβλα κωκυτοῖσιν, οὐ λύρο, 
φίλα Soph. Frag. 728. 

149. audv: ἐμόν. ---- κατακλαιομένᾶ: 
adapted grammatically to ἔγκειμαι v. 


avev λύρας. 


IPHIGENIA AMONG THE TAURIANS. 


150 


155 


160 


165 


9 "Ὁ 7 ¥ τ 9 , 
οἵαν ἰδόμαν ὄψιν ὀνείρων 

νυκτός, Tas ἐξῆλθ᾽ ὄρφνα. 
ὀλόμαν ὀλόμαν - 
οὐκ Elo οἶκοι πατρῷοι" 

» an ͵ 
οἴμοι φροῦδος γέννα. 

nw ἴω Lal » , 
φεῦ φεῦ τῶν “Apyer μόχθων. 
aN x4 ’, ἃ XN 
ἰὼ ἰὼ δαίμων, ὃς τὸν 
μοῦνόν με κασίγνητον συλᾷς 
9 ΄ - ’, Ν 
Avda πέμψας, ᾧ τάσδε χοὰς 

΄ “A / Ν / 
μέλλω κρατῆρά τε τὸν φθιμένων 
ὑδραίνειν γαίας ἐν νώτοις, 
πηγάς T οὐρείων ἐκ μόσχων 
Βάκχου τ᾽ οἰνηρὰς λοιβὰς 
ξουθᾶν τε πόνημα μελισσᾶν, 
ἃ νεκροῖς θελκτήρια κεῖται. 


69 


1458. --- ἀπλακόντα : refi; from ἀμπλα- 
κίσκειν, equiv. to ἁμαρτάνειν. 

151. This night whose gloom has just 
departed. — τὰς : τῆς relative. 

152 ff. The passage is a δυσθρήνη- 
τος θρῆνος, to apply the term used by 
Iphigenia herself. 

154. φροῦδος :. pred., sc. ἐστί. See 
H. 6114. With the death of the only 
son the family is extinct. 

156. δαίμων : no particular divinity, 
ut the evil genius of the race, the 
personified calamitous destiny of the 
Tantalidae. Cf. vs. 202 ff., 987 f. 


160. κρατῆρα φθιμένων : Low! of the , 


deceased. The libatory urn is to the 
dead what the wassail bowl is to the 
living, cf. λοιβὰν “Ada ν. 169. 
162-166. The particles are correla- 
tive.— The ingredients of the xoal are 
milk, wine, and honey. Water, which 
is usually named, is not mentioned 
here. Olive oil and flowers might be 


added. Cf. xohv χεόμην πᾶσιν νεκύεσ- 
aw, | πρῶτα μελικρήτῳ (honey and 
milk), μετέπειτα δὲ ἡδέι οἴνῳ, | τὸ τρί- 
τον αὖθ᾽ ὕδατι" ἐπὶ δ᾽ ἄλφιτα λευκὰ πά- 
Avvov Hom. Χ 26; πρευμενεῖς χοὰς | pe 
ρουσ᾽, ἅπερ νεκροῖσι μειλικτήρια, | Bods 
T ἀφ᾽ ἁγνῆς λευκὸν εὔποτον γάλα, | τῆς 
τ᾽ ἀνθεμούργου στάγμα, παμφαὲς μέλι, | 
λιβάσιν ὑδρηλαῖς παρθένου πηγῆς μέτα, 
| ἀκήρατόν τε μητρὺς ἀγρίας taro | wordy 
παλαιᾶς ἀμπέλου γάνος τόδε" | τῆς τ᾽ 
αἰὲν ἐν φύλλοισι θαλλούσης ἴσον | ξανθῆς 
ἐλαίας καρπὺς εὐωδὴς πάρα, ἄνθη τε 
πλεκτά, παμφόρου γαίας τέκνα Aesch. 
Pers. 609 ff. 

162. ovpelwy : mountain - ranging, 
hence not subject to the yoke, and 
suited for sacrificial purposes, cf. Bods 
τ᾽ ἀφ᾽ ἁγνῆς Aesch. lc. 

104 f. Bacchus’ winy flood and the 
gathered toil of yellow bees ; cf. vs. 634f. 

166. Gifts that are laid to charm and 
svothe the dead ; cf. ἅπερ νεκροῖσι μειλικ' 


70 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ἀλλ᾽ ἔνδος μοι πάγχρυσον 


τεῦχος καὶ λοιβὰν “Αιδα. 


170 


= ἈΝ , 3 , 
ὦ κατὰ γαίας Αγαμεμνόνιον 


θάλος, ὡς φθιμένῳ τάδε σοι πέμπω" 


δέξαι δ᾽ - οὐ γὰρ πρὸς τύμβον σοι 


\ , > ΄ > ΕἾ 
ξανθὰν XAT av, OU δάκρυ οἰισω. 


175 


, Ν 5 A » ’ὔ 
πατρίδος και ἐμᾶς, ἔνθα δοκήμασι 


τηλόσε γὰρ δὴ σᾶς ἀπενάσθην 


κεῖμαι σφαχθεῖσ᾽ a τλάμων. 


ΧΟΡΟΣ. 


ἀντιψάλμους ὠδὰς ὕμνον τ᾽ 


180 


᾿Ασιήταν σοι, βάρβαρον ἀχάν, 


δέσποιν᾽, ἀντεξαυδάσω, 


τὰν ἐν θρήνοισιν μοῦσαν 


τήρια Aesch. l.c. —ketrat: for the more 
specific σπένδεται, but approaching 
the sense of νομίζεται. Cf. νόμος κεῖται. 

167 f. Said to the attendant who 
bears the urn. — ἔνδος μοι: hand me. 
—"Avsa: Doric genitive. 

170-177. These words accompany 
the pouring, and are addressed to the 
shade of Orestes. In form, the pas- 
sage, like vs. 137-142, approximates 
to a regular system, but with Dorisms 
and spondaic paroemiac as before. 

171. θάλος : scion. — ὡς : Iphigenia 
speaks of her brother’s death as a 
conviction, not a certainty, and the 
particle is especially significant to the 
spectator of the play. 

172 Ὁ. Cf. v. 703. A lock of hair, 
freshly shorn from the mourner’s 
head, was laid upon the grave. 

175 ff. ἀπενάσθην : from ἀποναίειν. 
- δοκήμασι: in the belief of men.—Ket- 
par: [16 ow, as often κεῖσθαι of death. — 


a τλάμων : emphatically placed, with 
the effect of an interjection. 

179-185. Prelude, an echo to that 
of Iphigenia, vs. 148-151. Observe 
the similarity of the two passages in 
thought and phrase. 

179. ἀντιψάλμους : responsive ; said 
here without regard to the strict sense 
of ψάλλειν, which means to pick the 
string. Cf. τοῖς σοῖς ἐλέγοις ἀντιψάλλων 
ἐλεφαντόδετον φόρμιγγα Ar. Av. 216. 

180. The epithets apply not to the 
language, but to the tone. Melan- 
choly dirge-music was native to Asi- 
atic peoples, as all demonstrative 
excess in mourning was oriental, not 
Greek. Cf. καὶ στέρν᾽ ἄρασσε Kami Ba 
[ἐπιβόα] τὸ Μύσιον Aesch. Pers. 1045, 
ἔκοψα κομμὸν ἤΑριον id. Cho. 428, αἴλινον 
αἴλινον ... βάρβαροι λέγουσιν, αἰαῖ, ᾿Ασι- 
do. φωνᾷ Kur. Or. 1395. 

181. ἀντεξαυδάσω: αὐδήσω, from 
αὐδᾶν. 


IPHIGENIA AMONG THE TAURIANS. {1 


Zz. if “ 
νέκυσι μελομέναν, τὰν ἐν μολπαῖς 


185 Αιδας ὑμνεῖ δίχα παιάνων. 


» A > A » 

οἴμοι, τῶν ᾿Ατρειδᾶν οἴκων 

» A 

ἔρρει POS σκήπτρων, οἴμοι, 

τῶν σῶν πατρῴων οἴκων. 

οὐκέτι τῶν εὐόλβων ἤΑργει 
190 βασιλέων ἀρχά. 

’ > > Va » 
μόχθος δ᾽ ἐκ μόχθων ᾷσσει, 
δινευούσαις ἵπποις ὅπότε 
πταναῖς ἀλλάξας ἐξ ἕδρας 
ε Ν tA > »” 3 > “ 
ἱερὸν μετέβασ᾽ ὄμμ᾽ αὐγᾶς 


184 f. νέκυσι μελομέναν : dear to the chain of evils. A lamb with golden 


dead. Cf. Bog βαρβάρῳ iaxay στενακ- 
τὰν μελομέναν νεκροῖς δάκρυσι θρηνήσω 
Phoen. 1301.— τάν : rel.,as v. 151.— 
δίχα παιάνων : const. with ἐν μολπαῖς, 
and cf. ἀλύροις ἐλέγοις v. 146. The 
paean is joyful like the music of the 
lyre. 

186-202. This is the ὕμνος ᾿Ασιήτης, 
the βάρβαρος ἠχή, in response to Iphi- 
genia, vs. 152 ff. 

186 f. οἴκων : limits φῶς σκήπτρων. 
— ἔρρει φῶς σκήπτρων : the light of its 
sceptre is departed. But φῶς is said 
esp. with ref. to a person. Cf. the 
words of Atossa, on being informed 
that her son Xerxes lives: 
φάος μέγα Aesch. Pers. 299, ὄμμα γὰρ 
δόμων νομίζω δεσπότου παρουσίαν ib. 169. 
Cf. ν. 848 f. 

190. βασιλέων: trisyllable, see on 
v. 270. 

191 ff. Sorrow after sorrow springs 
apace, ever since (ὁπότε) the sun with 
circling winged steeds changed his heav- 


δώμασιν 


enly station and moved his sacred eye of 


radiance away. The chorus looks 
back to the original crime in the 


fleece, a token of the sovereignty, 
made its appearance among the flocks 
of Atreus. His brother Thyestes, 
with the help of Atreus’ wife Aerope, 
whose affections he had alienated 
from her husband, secured the prize 
and banished Atreus. This led to a 
miserable feud between the brothers, 
and in due time to the famous ‘ Thy- 
estean meal,’ whence the curse of 
Thyestes against Atreus and his race, 
and the miracle of the sun-god turn- 
ing back in horror. See vs. 812 f., 
816; also 4]. 718, Or. 812, 996, where 
the story is told in lyrical language. 

192. δινευούσαις : δίνη (eddy, vor- 
ter) was a current word of the move- 
ments of the heavenly bodies, ef. 
ovpdvial τε δῖναι νεφέλας Spoualov Ale. 
245; ridiculed by Aristophanes, A? 
vos βασιλεύει, τὸν AC ἐξεληλακώς Nub. 
$28. 

193 f. ἀλλάξας ἐξ ἕδρας: cf. the 
prosaic expression for an eclipse, ékAc 
πὼν τὴν ἐκ τοῦ οὐρανοῦ ἕδρην Hat. vii. 
37. Here the participle governs ὄμμα, 
— μετέβασε: μετέβησε, cf. v. 215. 


72 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


195 


ἅλιος - ἄλλοτε δ᾽ ἄλλα προσέβα 


χρυσέας ἀρνὸς μελάθροις ὀδύνα, 


/ SAAN , ᾿, , 5 »» 
φόνος ἐπὶ φόνῳ ἀχεά T ἀχεσιν' 


ἔνθεν τῶν πρόσθεν δμαθέντων 


200 


ἐκβαίνει ποινὰ Τανταλιδᾶν 


3 » , > 5» , > 
εις OLKOUS " σπεύδει ὃ ἀσπούδαστ 


SON \ , 
επι σοι δαίμων. 


ΙΦΙΓΕΝΕΊΙΑ. 


ἐξ ἀρχᾶς μοι δυσδαίμων 


δαίμων Tas ματρὸς ζώνας 


205 


Ν XN 4 5 > A 
καὶ VUKTOS κΚεινας" ἐξ αρχας 


λόχιαι στερρὰν παιδείαν 


“ 4 
Μοῖραι συντείνουσιν θεαί, 


av πρωτόγονον θάλος ἐν θαλάμοις 


210 


195 ff. Now one and now another 
misery from the golden lamb to the man- 
sion came, murder on murder, woes on 
woes; whence is wreaked upon the house 
vengeance for the Tantalidae formerly 
laid low, and at last the demon visits 
his awful zeal on THEE! — τῶν πρόσθεν 
δμαθέντων : first in the series were the 
slaughtered children of Thyestes, as 
the chorus reckons. — ἐκβαίνει : for 
é« in comp. see on v. 98. —oaevde δ᾽ 
ἀσπούδαστα: cf. δυσθρηνήτοις θρήνοις 
v. 144, δυσδαίμων δαίμων ν. 203, νύμφαν 
δύσνυμφον Vv. 210, χάριν ἄχαριν v. 566, 
ὁδοὺς ἀνόδους v. 888. --- σοί: is em- 
phatic by antithesis, but δαίμων is so 
placed as to receive the musical em- 
phasis. See on ’Opéotay v. 205. 

203-205. δυσδαίμων δαίμων : adapt- 
ed to the last words of the chorus, 
the key-note of the strain. — ζώνας : 
alludes to the symbolical ζώνην λῦσαι, 


Λήδας a τλάμων κούρα 


zonam solvere.—vukros κείνας: 1.6. 
her mother’s wedding night. By the 
vow of Agamemnon (vs. 20 f.) an evil 
destiny attended the very conception 
of his first-born child. 

205-207. ἐξ dpxds: repeated from 
v. 203. The anaphora is effective, cf. 
vs. 227 f., and see on v. 480. — λόχιαι 
KTA.: have the Fates divine of my natal 
hour drawn hard for me a stern training. 
συντείνειν properly denotes any tight 
strain, here of the threads spun by the 
Parcae. — θεαί: monosyllabic. See 
on v. 270. The verse is catalectic. 

209-217. Me, the first-born scion in 
her halls, whom Leda’s wretched daugh- 
ter bore and bred a victim to cruel out- 
rage at a father’s hand, a joyless sacri- 
Jice — me whom, doomed by the vow, they 
brought with horses and chariots to Aulis’ 
sandy shore, a bride, alas, that was no 


bride, for the son of Nereus’ daughter, 


IPHIGENIA AMONG THE TAURIANS. 73 


σφάγιον πατρῴᾳ λώβᾳ . 


x voy 8) 5 > / 
καὶ θῦμ᾽ οὐκ εὐγάθητον 


¥ » > ΄ ἃ 
ἔτεκεν ἔτρεφεν, εὐκταίαν ἃν 


ἱππείοις ἐν δίφροισι 


215 


ψαμάθων Αὐλίδος ἐπέβασαν 


νύμφαν, οἴμοι, δύσνυμφον 
τῷ τᾶς Νηρέως κούρας, αἰαῖ. 


νῦν δ᾽ ᾿Αξείνου πόντου ἕείνα 


δυσχόρτους οἴκους ναίω 


220 


» » » » 
ἄγαμος ἄτεκνος ἄπολις αφιλος, 


a μναστευθεῖσ᾽ ἐξ “Ἑλλάνων, 


» ῳ 
οὐ τὰν “Apyer μέλπουσ᾽ Ἥραν 


οὐδ᾽ ἱστοῖς ἐν καλλιφθόγγοις 


κερκίδι Παλλάδος ᾿Ατθίδος εἰκὼ 


καὶ Τιτάνων ποικίλλουσ᾽, ἀλλ᾽ 


woeis me! Note the alliteration (pa- 
ronomasia) in this passage: θάλος ἐν 
θαλάμοις, θῦμ᾽ οὐκ εὐγάθητον, etc. — 
σφάγιον, θῦμα : pred. nouns, the same 
idea being again expressed in εὐκταίαν 
(votivam).—ebya0nrov: γηθεῖν. --- 
εὐκταίαν : eniphasized by its position 
before the rel., cf. v. 72.— ψαμάθων : 
the gen. is due to ἐπί in comp. Cf. 
ὥς κ᾽ ἐμὲ τὸν δύστηνον éuijs ἐπιβήσετε 
πάτρης Hom. ἡ 229. ---νύμφαν: pred. 
noun. — Νηρέως κούρας : Thetis. 

218 f. Cf. τὸν δὲ Πόντον κατ᾽ ἐκεί- 
vous τοὺς χρόνους (the times of the 
Argonauts), περιοικούμενον ὑπὺ ἐθνῶν 
βαρβάρων καὶ παντελῶς ἀγρίων, ἄξενον 
προσαγορεύεσθαι, 
ἐγχωρίων τοὺς καταπλέοντας Diod. Sic. 
iv. 40; σὺν Νότου δ᾽ αὔραις ἐπ᾽ ᾿Αξείνου 
στόμα πεμπόμενοι Pind, Pyth. iv. 361. 
Note the play on the words ᾿Αξείνου 
telva. — movrov : const. with οἴκους. Cf. 
vy. 125, — 8voxdprovs: barren ; the op- 


, - 
ξενοκτονούντων τῶν 


posite of χόρτων εὐδένδρων, see on v. 
134. The whole passage, vs. 218-228, 
teems with contrasts. 

220 f. The point of the second line 
is in its contrast with the first. —é§: 
equiv. in sense to ὑπό, as often in 
tragedy. The supposed suit of Achil- 
les is here meant. 

221-224. Hera was the patron god- 
dess at Argos, as Pallas at Athens. 
Obs. that Iphigenia dwells upon the 
thought of Pallas, as if she were her. 
self an Athenian woman. — οὐδὲ... 
ποικίλλουσα : upon the peplus, which 
was woven by high-born Athenian 
dames and maidens for the Panathe- 
naic festival, exploits of the goddess 
were represented, such as her partici- 
pation in the battle of the gods and 
giants. — καλλιφθοόγγοις : the pleas- 
ant hum of the comb (xepxis) in weav- 
ing (cf arguto coniunx percur- 
rit pectine telas Verg. (Geer. i, 


74 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


225 αἱμόρραντον δυσφόρμιγγα 


, ey > 3, 
ξείνων αἱμάσσουσ' αταν, 


> , =) 5 lA 5» N 
οἰκτράν τ᾽ αἰαζόντων αὐδὰν 


οἰκτρόν τ᾽ ἐκβαλλόντων δάκρυον. 


Ν ἴω , ὕ , 
καὶ νῦν κείνων μέν μοι ada, 


290 


τὸν δ᾽ Ἄργει δμαθέντα κλαίω 


’ ἃ » 5 , 
σύγγονον, ὃν ἔλιπον ἐπιμαστίδιον 


ἔτι βρέφος, ἔτι νέον, ἔτι θάλος 


ἐν χερσὶν ματρὸς πρὸς στέρνοις T 


295 


ἼΑργει σκηπτοῦχον ᾽᾿ρέσταν. 


ΧΟΡΟΣ. 


‘\ Ἂς ψοϑ9 > Ν 5 Ν ’ 
καὶ μὴν ὅδ᾽ ἀκτὰς ἐκλιπὼν θαλασσίους 


Ν ν “ ’ Tes 
BovdopBos ἡκει σημανων TL σοι νέον. 


z94) is remembered in contrast with 
the voice of lamentation mentioned 
below. —rouki\Aovea : equiv. to ποι- 
κίλην ὑὕφαίνουσα. 

225-228. Leading guests to their 
blood-besprinkled, sad-sounding doom, 
whilst they wail with piteous voice and 
let fall a piteous tear. — 8vedoppryye: 
equiv. to ἄλυρον, see on v. 146. ‘The 
text of v. 226 is uncertain, although 
such phrases as αἱμάσσουσ᾽ ἄταν (free 
cognate acc.) are not uncommon in 
lyrical language. — οἰκτρᾶν τε. . . 
οἰκτρόν τε: anaphora. 

229-235. κείνων : of all that; neut. 
plural. —SpaGevra: the lengthening 
of the final syllable by position before 
κλαίω is very exceptional, cf. on v. 51. 
- ἐπιμαστίδιον : metrically defective, 
as the synaphea requires a consonant 
at the beginning of v. 232 to lengthen 
the final syllable of this word. ‘The 


syllaba anceps is allowed only at the 
end of the parovemiac, see ἃ. 1677, 
1636, H. 1074 b. — For the reminis- 
cence here, cf. vs. 372 ff., 884 f.— 
᾽Ορέσταν : the name of Orestes, with 
its epithets of honor, is saved up to 
the end of the whole passage for the 
sake of emphasis and pathos. A lyric 
strain often thus ends with a proper 
name, Cf. μολόντα τάνδε γᾶν ᾿Ορέσταν 


Soph. £1. 105. 


Ill. First Errrsopron, vs. 286-391. 


236 f. Lo, here comes, etc. Spoken 
by the coryphaeus, as are all iambic 
trimeters attributed to the chorus in 
the dialogue of tragedy. From his 
position in the orchestra, facing the 
scene, the leader of a chorus is gen- 
erally the first to observe the ap- 
proach of persons from without. — 
καὶ μήν : often used in calling atten 


ψν- 


IPHIGENIA AMONG THE TAURIANS.. 


- 


Or 


BOYKOAOS. 


᾿Αγαμέμνονός τε καὶ Κλυταιμνήστρας τέκνον, 


ΕἾ ΄ A 
ἄκουε καινῶν ἐξ ἐμοῦ κηρυγμάτων. 


ΙΦΙΓΕΝΕΙΑ. 


240 τί δ᾽ ἔστι τοῦ παρόντος ἐκπλῆσσον λόγου; 


ΒΟΥΚΟΛΟΣ. 


9 5 “Ὁ ΄ Sy (ὃ 
ἥκουσιν εἰς γῆν, κυανέαν Συμπληγάδα 


πλάτῃ φυγόντες, δίπτυχοι νεανίαι 
ἢ; Ὕ ’ X ? 


θεᾷ φίλον πρόσφαγμα καὶ θυτήριον 


᾿Αρτέμινδι. 


4 ἣν Ν , 
χέρνιβας δὲ και καταργματα 
ϑ » x» , Δ > a ΄, 

-ἰό OUK ἂν φθάνοις αν €UT P€77) TTOLOVILEV 1). 


IPITENEIA. 


7 7 “A »” 5 » ε ΄ 
ποδαποί; τινος γὴς ονομ EKOVOLV OL ξένοι; 


ΒΟΥΚΟΛΟΣ. 


Ἕλληνες - ἕν τοῦτ᾽ οἶδα κοὐ περαιτέρω. 


tion to the entrance of ἃ new person; 
logically, to a new head or subject of 
discourse. —68e: deictic, cf. vs. 268, 
285, 456, 460, 724, 727, 1156, 1157, 
1222. 

238 f. Obs. the formal and impor- 
tant air of the address. For the 
part which the herdsman plays in 
the dramatic economy, see Introd. 
p. 30. 

240. What is it interrupts us in our 
colloquy? ---λόγου: gen. after ἐκ in 
composition. ὁ παρὼν λόγος “ the pre- 
sent discourse,” “our musings,” which 
had been suddenly disturbed by the 
entrance of the messenger. See on 
λόγον v. 578. 

241. κυανέαν : ornamental epithet, 
suiting anything that pertains to the 
‘dark blue ocean.’ — Συμπληγάδα : 


the sing. of this word is comparatively 
rare, cf. vs. 746, 889 f., ποντίαν Ἐυμπλη- 
yada Andr. 194. 

242. δίπτυχοι: poetically for δύο, 
cf. vs. 474, 1289, 264 (δισσούς), 456 
(δίδυμοι). Apt phrases for the insep- 
arable pair, the ‘Damon and Phintias’ 
of the legend. 

243. πρόσφαγμα καὶ ϑυτήριον : 
couplet of synonymous words, cf. 
σφάγιον... καὶ θῦμα vs. 211 f., πῶς. 
τρόπῳ θ᾽ ὁποίῳ vs. 256 f., xp)... καὶ 
νομίζεται ν. 471, ἐπιστάμεσθα καὶ γιγνώ- 
σκομεν V. 491. 

244 f. χέρνιβας δὲ καὶ κατάργματα : 
another couplet; the herdsman is 
full and running over. See on vy. 40, 

οὐκ ἂν φθάνοις κτλ. ; you cannot 
be loo soon in getting ready, SeeGMT. 
894. 


76 . 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ἸΦΙΓΈΝΕΙΑ. [) 


29> Κ 53. 5 , > a , , 
ovo ονομ, AKOVOAS οἶσθα των ξένων φράσαι; 


ΒΟΥΚΟΛΟΣ. 


- Πυλάδης ἐκλήζεθ᾽ ἅτερος πρὸς θατέρου. 


IPITENEIA. 


250 


tov Evlvyou δὲ τοῦ E€vov τί Tovvop’ ἦν; 


ΒΟΥΚΟΛΟΣ. 


5 Ν Ὁ» > > Ν > 4 
οὐδεὶς TOO οἷδεν * ου γὰρ εισηκουσάαμεν. 


ΙΦΙΓΕΝΕΙΑ. 


A > ἊΨ» ’ Ε] Ν Ν , πὰ 
πῶς δ᾽ Elder’ αὐτοὺς καὶ τυχόντες εἵλετε; 


ΒΟΥΚΟΛΟΣ. 


x δ Ν ἰδ A 5.2 , 
ακραις επι βήηγμισιν ἀξένου πορου. 


IPITENEIA. 


καὶ Tis θαλάσσης βουκόλοις κοινωνία; 


᾿ ΒΟΥΚΟΛΟΣ. 


255 


βοῦς ἤλθομεν νίψοντες ἐναλίᾳ δρόσῳ. 


IPITENEIA. 


ἐκεῖσε δὴ “mavedOe, πῶς vw εἵλετε 


4 > ε ’ ἴω Ν “ ͵ 
τρόπῳ θ οποιῳ " TOUTO γὰρ μαθεῖν θέλω. 


248. οὐδέ: is due to ἐν τοῦτο κτλ. 
v. 247; ὄνομα in v. 240 is probably 
wrong. -- οἶσθα: superfluous to the 
Eng. idiom. “ Didn’t you even hear 
one of their names to tell us?” — 
φράσαι: ὥστε φράσαι. 

249. See ν. 285. Iphigenia knows 
nothing of Pylades, see vs. 916-920. 
—Grepos: ὁ ἕτερος. --- θατέρου: τοῦ 
ἑτέρου. ---- πρός : for ὑπό, as ἐξ v. 221, 
ef. vs. 566, 368, 692. 

250. τοῦ ξυζύγου τοῦ ξένου: of the 
stranger who was his mate. The const. 
seems to be like 6 ἀνὴρ 6 ἀγαθός, treat- 
ing ξένου as an adjective. 


252. τυχόντες eiAere: much the 
same as ἑλόντες ἐτύχετε, Cf. ἦν κυρῶν 
(i.e. ὧν ἐκύρει) Soph. Phil. 511, ib. 544, 

253. ἐπί: a syllable may be long 
by position before initial p in the 
iamb. trim. Cf. σώματος μέγα ῥάκος | 
Aesch. Pr. 1023. — ἀξένου πόρου : the 
sea is a πόρος (thoroughfare) of ships, 
as Aeschylus calls the sky πόρον oiw: 
νῶν Pr.281. Cf. v. 1388, Αἰγαῖον πόροι 
Troad, 82, Εὐξείνου πόρου Andr. 1262. 

256. The herdsman had begun to 
tell his story at v. 253, but Iphigenia 
interrupted him with a new question, 
She now bids him resume his narra- 


IPHIGENIA AMONG THE TAURIANS. 77 


4 Ἂν ν 5 7Q> 5 Ν Ν A 
χρόνιοι yap ἥκουσ᾽ οἵδ᾽ ἐπεὶ βωμὸς θεᾶς 
Ἑλληνικαῖσιν ἐξεφοινίχθη ῥοαῖς. 


ΒΟΥΚΟΛΟΣ. 


260 ἐπεὶ τὸν εἰσρέοντα διὰ Συμπληγάδων 
βοῦς ὑλοφορβοὺς πόντον εἰσεβάλλομεν, 
i \ , “ ,ὔ 
ἦν τις διαρρὼξ κυμάτων πολλῴ σάλῳ 


Ἂν 5 ΄ Ν » 
κοιλωπὸς ἀγμός, πορφυρευτικαὶ στέγαι. 


ΕῚ ἴω Ν εν id , 
ἐνταῦθα δισσοὺς εἶδέ τις VEAVLAS 


265 βουφορβὸς ἡμῶν, κἀνεχώρησεν πάλιν 
ἄκροισι δακτύλοισι πορθμεύων ἴχνος. 


ἔλεξε δ᾽ - οὐχ ὁρᾶτε; δαίμονές τινες 


θάσσουσιν οἵδε. 


θεοσεβὴς δ᾽ ἡμῶν τις ὧν 


> Z, Lal ἊΝ ,ὕ 3 : Τὰ 
ἀνέσχε χεῖρε καὶ προσεύξατ᾽ εἰσιδών - 
2170 ὦ ποντίας παῖ Λευκοθέας, νεῶν φύλαξ, 


’ lal 7 ε A an 
δέσποτα Παλαΐμον, ίλεως μιν γενοῦ, 


tive from the beginning. — ἐπάνελθε: 
for the aphaeresis, see G. 55, H. 83. 
—vly: G. 395, H. 261 pa. 

258 f. χρόνιοι : the familiar use of 
a pred. adj. instead of an adv., or a 
prep. with its case. See on y. 1284; G. 
926, H. 619. --- ἐπεί: equiv. in sense 
to ἀφ᾽ ov, referring to χρόνιοι. The 
difficulty in translating this passage 
is chiefly owing to ἥκουσι, which is 
superfluous to the Eng. idiom, cf. v. 
42. We should simply say, “it is a 
long time since the goddess had a 
sacrifice,” or “it is a long time since 
any foreigners have come, as these 
have, to be sacrificed.” ‘The Greek 
manages to express both ideas at 
once. 

261. ὑλοφορβούς : cf. Bobs ὑλοφάγοιο 
κρέας Hes. Works 080, --- πόντον : acc. 
after εἰς in comp. —eloeBadrAopev: had 
begun to drive in; note the tense. 


262 f. ἦν : instead of ἐστί, by assim- 
ilation to the time of the events 
narrated. — διαρρώξ : ῥηγνύναι. --- ay- 
μός : ἀγνύναι. ----πορφυρευτικαὶ στέγαι: 
a shelter Sor purple-fishers (πορφυρεῖς, 
πορφυρευταί), While waiting for their 
nets to fill. The hunters of the valu- 
able murex haunted the remotest 
coasts. The adj. here is used as in 
Πέλοψ ὁ Ταντάλειος VY. 1, εὐχαῖσιν 
δεσποσύνοις VY. 499, 

266. ἄκροισι δακτύλοισι : on Lip-loe, 
For πορθμεύων ἴχνος, cf. v8. 980, 1490. 
208. οἵδε: yonder; see on vy. 236. 

270 f. Λευκοθέας : pronounced as 
trisyllable with synizesis, see G. 47, 
H. 78, and cf. vs. 190, 196, 207, 280, 
299, 587, 780, ete. — Cf. ‘By Leuco- 
thea’s lovely hands, | And her son 
that rules the strands’ Milton Comus 
$75. Leucothea and Palaemon were 
Ino and Melicertes, before they jumped 


78 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


¥ 59 > Su) 5 lal Pa id 
€LT Ουν ΕἸ AKTALS θάσσετον Διοσκόρω, 


ἢ Νηρέως ἀγάλμαθ'᾽, ὃς τὸν εὐγενῆ 


» , “ὃ / 
ETLKTE πεντήκοντα Νηρήδων χορὸν. 


275 


ἄλλος δέ τις μάταιος, ἀνομίᾳ θρασύς, 


ἐγέλασεν εὐχαῖς, ναυτίλους δ᾽ ἐφθαρμένους 


θάσσειν φάραγγ᾽ ἔφασκε τοῦ νόμου φόβῳ, 


κλύοντας ὡς θύοιμεν ἐνθάδε ξένους. 


ἔδοξε δ᾽ ἡμῶν εὖ λέγειν τοῖς πλείοσι, 


280 θηρᾶν τε τῇ θεῷ 


, 5 V 
σφάγια τἀπιχώρια. 


5 Lal - ν ἊΝ td 
κἀν τῷδε πέτραν ἅτερος λιπὼν ἕένοιν 


» , 7 > » , 
EOTY) Kapa TE διετίναξ ανὼω KATW 


into the sea and became gods benefi- 
cent to mariners (νεῶν φύλαξ). Bu- 
ripides wrote a tragedy Jno, which 
has been lost. The story is told by 
Ovid Met. iv. 416 ff. 

272-274. εἴτ᾽ οὖν: introduces the 
second hypothesis of the god-fearing 
herdsman, ἤ the third. His first con- 
jecture is implied in the vocative form 
(ὦ... Παλαῖμον vs. 270 f.), instead of 
being correlated in const. with what 
follows it. Or then if ye be the twin 
sons of Zeus who sit there at the shore, 
or two darlings of Nereus, etc. The 
stately presence of the Greek youths 
is indirectly brought to view, cf. vs. 
304 f., 336 ff., 459 ff., 474. Nereus’ 
progeny, so far as known, were all 
daughters to be sure, but the stock 
was good.—Avookopw: Castor and 
Pollux, fratres Helenae, lucida 
sidera Hor. Carm. i. 3. 2.— ἀγάλ- 
pad’: ἀγάλματε. --- εὐγενῆ : comely. 

275. Another one of us, a scoffer un- 
scrupulously bold. 

276 f. ἐφθαρμένους : shipwrecked. — 
θάσσειν φάραγγα: for the trans. use, 
see H. 712 b, and ef. Jon 91, quot. In- 
trod. p. 42. So we say, ‘sit a horse.’ 

279 f. λέγειν : is in the const. of 


indirect discourse, but θηρᾶν is not. 
For the latter inf., a new turn of 
meaning (we resolved) is given to the 
leading verb ἔδοξε. 

281 ff. The herdsman describes an 
attack, witnessed by himself and his 
companions, of the frenzy with which 
Orestes was afflicted through the pur- 
suit of the Furies. Aristotle Poet. 
xvii. remarks on the organic excel- 
lence of the motive here employed by 
the poet, in that the hero’s madness, 
the result of his former tragic experi- 
ences, leads to his capture now. It 
is to be observed that in Euripides 
the Erinyes have from mythological 
become merely psychological beings. 
Their attack on Orestes is nothing 
but a delirium on his part; they are 
visible to no other eyes than his (vs. 
291f.). So in the Orestes, the raving 
youth upon his couch is admonished 
by his sister Electra that the gory 
visages and snaky locks, by which he 
is haunted, are but the delusion of a 
sickly brain (ὁρᾷς yap οὐδὲν ὧν δοκεῖς 
σάφ᾽ εἰδέναι Or. 259). This is very dif- 
ferent from Aeschylus, whose Eume- 
nides are ‘materialized’ to the satis- 
faction of all the senses. See Weil, 


IPHIGENIA AMONG THE TAURIANS. 19 


5 ’ > ip , ¥ 
κἀνεστέναξεν ὠλένας τρέμων ἄκρας, 


rs 3 7 Ν “Ὁ Ν ν 
μανιαις ἀλαίνων, και Boa KUVQYOS ὡς: 


285 


Πυλάδη, δέδορκας τήνδε; τήνδε δ᾽ οὐχ ὁρᾷς 


ἽΑιδου δράκαιναν, ὥς με βούλεται κτανεῖν 


ὃ A 5 (ὃ 3 » > > / 
ειναις εχι ναις εις εμ εστομωμενη 5 


ἃ δ᾽ 5 , “ , \ , 
n εκ χιτώνων πυρ TVEOVOA και φόνον 


πτεροῖς ἐρέσσει, μητέρ᾽ ἀγκάλαις ἐμὴν 


290 


ΕΝ \ \ »” ε > ΄ὕ 
ἔχουσα, περὶ τὸν ὄχθον, ὡς ἐπεμβάλῃ. 


ΕΣ a ΄“ , “ 3 ε A 
οἴμοι, KTEVEL με' TOL φύγω;---παρὴν ὃ opav 


οὐ ταῦτα μορφῆς σχήματ᾽, ἀλλ᾽ ἠλλάσσετο 


φθογγάς τε μόσχων καὶ κυνῶν ὑλάγματα 


xa hao ᾿Ερινῦς ἱέναι μυκήματα. 


295 ἡμεῖς δὲ συσταλέντες ὡς θανούμενοι 


Sept Tragédies d’Euripide (Notice 
sur /’ Oreste). 

283 f. ὠλένας τρέμων ἄκρας: quiv- 
ering to his finger-tips ; i.e. through his 
entire frame, cf. ἐξ ἄκρων σταθμῶν V. 
49.— xuvayos ὥς : the simile suggests 
the sudden apparition of a wild beast, 
that calls forth a loud exclamation 
from the huntsman who first sees it. 

285. From this verse and v. 321 we 
learn how the name of Pylades came to 
be sowell remembered; see vs.249,493. 

287. Armed against me with a front 
of horrid snakes, The word στόμα was 
applied to the edge of a sword, and 
to the front line of battle (acies). 

288-290. 4: accented because used 
as a demonstrative, see H. 272 Ὁ. --- 
ἐκ χιτώνων : generally thought to be 
corrupt. If the text is right, we 
have a picture of the Fury with head 
muffled, witch-like, in the folds of 
her garment.—-repois ἐρέσσει: c/. 
πτερύγων ἐρετμοῖσιν ἐρεσσόμενοι Aesch, 
Ag. 53, remigio alarum Verg. 
Aen. i. 301. The converse of this 


frequent metaphor occurs y. 1346 
(printed after v. 1394), where the 
oarage of a ship is spoken of as 
its plumage. —s ἐπεμβάλῃ: final 
clause. The matricide, in his delir- 
ium, thinks he sees the flying Fury 
threatening to hurl upon him the 
corpse of his mother. 

291-294. There were no such shapes 
to be seen, but he confounded the lowing 
of cattle and the barking of dogs with 
the cries which the Furies are said to 
utter. The rustic is rationalistic, as 
every sort of person is apt to be in 
Euripides. — μορφῆς σχήματα : equiv. 
to poppduara, as σχῆμα is very often 
used in forming periphrases. Cf. pop- 
pis σχῆμ᾽ ἔχουσαν ἀγρίας Lon 992, σχῆς- 
μα δόμων (i.e. δῶμα) Alc. 911. --- ἠλ- 
subjective mid.; he was 
“exchanging” in his own mind, “e. 
“confusing.” — xa dace... μυκή- 
para: καὶ τὰ μυκήματα & pam κτλ. 

295. συσταλέντες κτλ.: huddling to- 
gether, as if each moment were to be our 


λάσσετο: 


last. 


80 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


σιγῇ καθήμεθ᾽. ὃ δὲ χερὶ σπάσας Eidos, 


μόσχους ὀρούσας εἰς μέσας λέων ὅπως, 


/ / ’ 5 / 9 HET ae 
παίει σιδήρῳ, λαγόνας εἰς πλευράς θ᾽ ἱείς, 


δοκῶν ᾿Ερινῦς θεὰς ἀμύνεσθαι τάδε, 


900 


ὥσθ᾽ αἱματηρὸν πέλαγος ἐξανθεῖν ἁλός. 


κἀν τῷδε πᾶς τις, ὡς ὁρᾷ. βουφόρβια 


πίπτοντα καὶ πορθούμεν᾽, ἐξωπλίζετο, 


κόχλους τε φυσῶν συλλέγων T ἐγχωρίους" 


Ἂν 5» “A N Ν »( ὦ » Moor ( 
προς εὐτραφεῖς γὰρ και VEAVLAS ξένους 


305 


φαύλους μάχεσθα. βουκόλους ἡγούμεθα. 


πολλοὶ δ᾽ ἐπληρώθημεν ἐν μικρῷ χρόνῳ. 


) ὁ \ 4 / ε ’ ’ 
πίπτει δὲ μανίας πίτυλον ὁ ἕένος μεθείς, 


στάζων ἀφρῷ γένειον: ὡς δ᾽ ἐσείδομεν 


΄ ΄ a By IN x , 
προυργου TEOOVTA, TAS avy p EO KEV TOVOV 


310 βάλλων ἀράσσων. 


297-299. ὅπως: ὡς. --- λαγόνας εἰς 
πλευράς τε: the prep. governs both 
nouns. In poetry, a word common to 
two members of a phrase may be 
placed with the second only, cf. ἡδὺς 
οὐδὲ μητρὶ δυσχερής Soph. Δ᾽. 929. -- 
ἱείς : sc. σιδηρόν. ---- δοκῶν : imagining. — 
*"Epwis θεάς : cf. νεανίας ξένους v. 904, 
βουφορβὸς ἀνήρ v. 462. The specific 
term is prefixed as an adj. to the 
generic. — τάδε: thereby ; cognate 
accusative. 

300. So that the briny deep bloomed 
forth with gore. For the metaphor, cf. 
ὁρῶμεν ἀνθοῦν πέλαγος Αἰγαῖον νεκροῖς 
Aesch. Ag. 659.—aiparnpov: pred. 
adj.—méAayos ἁλός : the periphrasis 
is of common occurrence, cf. ἁλὸς ἐν 
πελάγεσσι Hom. ε 335, ἅλιον πέλαγος 
Andr. 1012. 

301 ff. The herdsmen very natu- 
rally recover their wits the moment 
an attack is made on their cattle. 


ν Ν A ὕ 
aTEpos δὲ τοιν ξένοιν 


303. κόχλους : conch-shells ; the prim- 
itive trumpet for maritime tribes, old 
Triton’s ‘wreathéed horn.2. Cf. caeru- 
leum Tritona vocat, conchae: 
que sonanti|inspirare iubet 
Ovid Met. i. 833, followed by a de- 
scription of the shell. 

305. We deemed herdsmen poor hands 
at fighting. 

306. πολλοὶ δ᾽ ἐπληρώθημεν : and 
right well did our ranks fill. πολλοί 
is predicative. 

307. πίτυλον: fit, (πίτνειν, mer-), 
commonly plash of oars. Figuratively 
employed in various ways; of mad- 
ness, as here, μαινομένῳ πιτύλῳ πλαγχ- 
Gels Herc. Fur. 1189. 

308 f. ἐσείδομεν ... πεσόντα : saw 
him fall. Contemporaneous aor. par- 
ticiple, cf. v. 829; differently the pres. 
ὁρᾷ πίπτοντα (falling) v. 302.— 
ἔσχεν πόνον: fell to work; note the 
tense. 


IPHIGENIA AMONG THE TAURIANS. 81 


5 , > eis ag ’ ’, > 5 4 
ἀφρόν τ᾽ ἀπέψη σώματός τ᾽ ἐτημέλει 

΄ ἐν, > , ε , 
πέπλων τε προυκάλυπτεν εὐπήνους ὑφάς, 


καραδοκῶν μὲν τἀπιόντα τραύματα, 


φίλον δὲ θεραπείαισιν ἄνδρ᾽ εὐεργετῶν. 


»» 5 3 4 c , 4 
815 ἔμφρων δ᾽ ἀνάξας ὁ ξένος πεσήματος 
ἔγνω κλύδωνα πολεμίων προσκείμενον 


XN Ν A Ν 3 ° , 
Kal τὴν παροῦσαν συμφορὰν αὐτοῖν πέλας, 


» Ξ ’ θ᾽ is ε “ ἊΣ > 5 ’, / 
ὠμωξέ NILELS οὐκ ἀνίεμεν πέτροις 


βάλλοντες, ἄλλος ἄλλοθεν προσκείμενοι. 


320 


& δὴ Ν ὃ Ν ΄,ὕ > > , 
OU Ἴ ΤΟ ΕΙΨΟΨΝ παρακέλευσμ ηκουσαμεν " 


Πυλάδη, θανούμεθ᾽, ἀλλ᾽ ὅπως θανούμεθα 


’ὕ > 4 , ’ ’ 
κάλλισθ᾽ + ἕπου μοι, φάσγανον σπάσας χερί. 


ὡς δ᾽ εἴδομεν δίπαλτα πολεμίων ἕίφη, 


φυγῇ λεπαίας ἐξεπίμπλαμεν νάπας. 


325 


> > > 4 7 ’ 
ἀλλ᾽, εἰ φύγοι τις, ἅτεροι προσκείμενοι 


ἔβαλλον αὐτούς: εἰ δὲ τούσδ᾽ ὠσαίατο, 


Ss Ν fal A » 
αὖθις τὸ νῦν ὑπεῖκον ἤρασσον πέτροις. 


310. βάλλων ἀράσσων: the lively 
effect of such asyndeton at the begin- 
ning of the verse, generally of synony- 
mous words with assonance of end- 
ings, is much liked in the iambic 
trimeter; ¢f. βοῶν στενάζων Soph. Phil. 
11, χωρεῖ κονίει Aesch. Sept. 60. 

311 f. The imperfect, the proper 
tense of description, reappears. 

312. In the same way Aphrodite 
shields Aeneas, πρόσθε δέ of πέπλοιο 
φαεινοῦ πτύγμ᾽ ἐκάλυψεν Hom. E 315. 
— πέπλων εὐπήνους ὑφάς : poetic am- 
plification οἵ πέπλον or πέπλους, cf. 
vs. 1404, The periphrasis in the 
Homeric line quoted is similar. 

313. καραδοκῶν: dodging. 

315. ἔμφρων : pred. ; we should use 
another participle, “coming to his 
senses and springing up from where 


he lay.” — πεσήματος : πίπτει Vv. 307. 
In prose a preposition would have 
been expressed with this genitive. 

320. ov δή: an initial rel. is always 
forcible in Greek. —to: the article 
shows what an impression the shout 
had made on the mind of the narra- 
tor; cf. vs. 924, 13866. — Then it was 
we heard that terrible cheer. 

321. ὅπως θανούμεθα : elliptical, and 
equiv. to an exhortation, see G, 1352, 
H. 886. 

323: δίπαλτα : wielded by the pair, 
by the δίπτυχοι νεανίαι. Cf. δικρότοισι 
v. 407, of oar-strokes on both sides of 
the vessel. 

324, ἐξεπίμπλαμεν : see on vy. 804. 

325-327. ὠσαίατο : takes its subject 
from αὑτούς. --- τούσδε: the same per 
sons as ἅτεροι. --- τὸ νῦν ὑπεῖκον : the 


82 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


> > = "» ΄ Ν > ἮΝ 
ἀλλ᾽ ὴἡν ἀπιστον: μυρίων γὰρ ἐκ χερῶν 

5 Ἂν Ἁ “ὦ ΤΣ /, > 5 ’΄ ’΄ 
οὐδεὶς τὰ τῆς θεοῦ θύματ᾽ ηὐτύχει βαλών. 


990 


μόλις δέ νιν τόλμῃ μὲν οὐ χειρούμεθα, 


κύκλῳ δὲ περιβαλόντες ἐξεκλέψαμεν 


ὔὕ Las , 5 5 QA nw , 
TET POLO lL XELP wv φάσγαν *  €LS δὲ yyy yovu 


’ lanl 
καμάτῳ καθεῖσαν. 


πρὸς δ᾽ ἄνακτα τῆσδε γῆς 


7 , ἃ > 5 Ἂν ν ἊΣ 
κομίζομέν νιν. . ὃ δ᾽ ἐσιδὼν ὅσον τάχος 


335 


s “4 / Ν “ἊΣ ΕΣ , νυ 
ἐς χέρνιβάς τε καὶ odhayer ἔπεμπέ GOL. ) 


Ε \ 72> > Tes, , 
εὔχου δὲ τοιάδ᾽, ὦ veavi, σοι ξένων 


’ Lo) “ἡ 5 iA Ve 
σφάγια παρεῖναι: Kav ἀναλίσκῃς ἕένους 


ἊΝ Ν ε Ἂς 5 
τοιούσδε, τὸν σὸν Ἑλλὰς ἀποτίσει φόνον 


δίκας τίνουσα τῆς ἐν Αὐλίδι σφαγῆς. 


party which but now had given way, 1.6. 
those indicated in εἰ φύγοι τις. νῦν 
like νῦν δή in prose.—7pacocov: pl. 
adapted to the sense, not to the gram- 
matical form of its subj.; G. 900, 
Η. 609. 

328 f. ἄπιστον ἦν: namely, what 
follows, introduced by γάρ. which word 
should be omitted in translating. The 
Taurian treats the ill-success in ston- 
ing as a miraculous interposition by 
the goddess, to protect her victims 
from blemish. — ηὐτύχει βαλών: was 
so lucky as to hit; see on vs. 308 f. 
Usually both verb and participle are 
in the same tense, but not always. 

330-332. The parataxis cannot be 
preserved in English; cf. vs. 116 f. — 
At length, although to be sure (uév) we 
could not get the better of them by any 
prowess, yet (δέν) we did, etc. — ἐξεκλέ- 
ψαμεν : the trick of filching the swords 
out of their hands by stoning is op- 
posed to τόλμῃ. 

334 f. κομίζομεν : hist. pres. —décov 
τάχος: ὡς τάχιστα, Const. with what 


follows. — χέρνιβάς te kal σφαγεῖα : 
couplet, see on vs. 245 ἢ. --- ἔπεμπε: 
ordered them to be conducted; a true 
imperfect. ἔπεμψε would have been 
said, if the command had been ex- 
ecuted and the captives actually 
brought to the altar, 

336 ff. τοιάδε, τοιούσδε: emphatic, 
and more significant than the speaker 
is aware. Iphigenia may well pray 
that victims like Orestes and Pyla. 
des (her kinsmen and deliverers) be 
thrown into her hands; the herds- 
man, however, only means to say that 
in the loss of such noble specimens 
of manhood, Hellas will make ample 
amends to Iphigenia for the wrong 
done to her by her countrymen. — 
The Taurian attributes a sentiment 
of vindictiveness to the priestess ; cf. 
vs. 1418f. Euripides’ Iphigenia is in 
fact not entirely above such a feel- 
ing, at least so far as the unfortu- 
nate Helen and Menelaus are con- 
cerned; see vs. 354 ff. — ἀναλίσκῃς : 
despatch, 


2 


IPHIGENIA AMONG THE TAURIANS. 83 


ΧΟΡΟΣ. 


ν 


840 θαυμάστ᾽ ἔλεξας τὸν φανένθ᾽, ὅστις ποτὲ 


Ἕλληνος ἐκ γῆς πόντον ἦλθεν ἀξενον. 


IPITENEIA. 


5 x ai , Ν ΄, ΄ 
elev. σὺ μὲν κόμιζε τοὺς ξένους μολών, 


τὰ δ᾽ ἐνθάδ᾽ ἡμεῖς οἷα φροντιούμεθα. 


= δ ὮΝ \ \ > ΄ 
ω καρ ta ταλαινα, πριν μεν ELS E€vous 


345 γαληνὸς ἦσθα καὶ φιλοικτίρμων ἀεί, 


εἰς θοὐμόφυλον ἀναμετρουμένη δάκρυ, 


Ἵλληνας ἄνδρας ἡνίκ᾽ εἰς χέρας λάβοις. 


a Sia 9 ΣΙ ἌΡ Ὄ > ΄ 
νυν ὃ ἐξ ονειρων οισιν ἠγριώμεθα, 


δοκοῦσ᾽ Ὃρέστην μηκέθ᾽ ἥλιον βλέπειν, 


350 δύσνουν pe λήψεσθ᾽, οἵτινές ποθ᾽ HKeTE. 


καὶ τοῦτ᾽ ap ἢν ἀληθές, ἡσθόμην, φίλαι: 


340 f. At the end οἵ any long ῥῆσις 
in tragedy there is regularly a di- 
stich of the coryphaeus, to prevent 
abruptness of transition, cf. vs. 987 f., 
1420 f. — τὸν φανέντα : sing., because 
the account of the strange beliavior 
of Orestes, in his madness, has partic- 
ularly struck the chorus. — ὅστις ποτὲ 
ἦλθεν: whoever he may be that has come ; 
cf. οἵτινές ποθ᾽ ἥκετεν. 390, ἥτις εἶ ποτ᾽, 
ὦ γύναι Vv. 483, ὅστις ποτ᾽ εἶ v. 628; 
‘Wer sie auch immer sei,’ ‘Wer du 
auch seist’ (Goethe). Exclamations 
of this sort are artistically calculated 
to empliasize the irony of the situa- 
tion, since they bring to clearer view 
than ever the speaker’s ignorance of 
important truths known to the spec- 
tator. At the same time, they are 
dramatically natural, being prompted 
by a growing interest and quickened 
curiosity. 

342 f. Said to the herdsman, who 


withdraws as bidden. — ota: sc. ἔσται, 
if the text is right. 

344 ff. Iphigenia is alone with the 
chorus. For her reflections here, see 
on vs. 55 ff. 

344-346. ὦ καρδία τάλαινα : self- 
apostrophizing; οὐ v. 881, τέτλαθι δή, 
κραδίη Hom. v 18, also the passage 
quoted from Aeschylus, on y, 62,— 
γαληνός: the sympathetic, compas- 
sionate heart is likened to the calm, 
unruffied surface of the waters. — 8ov- 
μόφυλον: τὸ dudpudov, abstract for 
concrete, expanded in the foll. line; 
cf. ἀμαθίαν ν. 386. 

348 f. ἠγριώμεθα, δοκοῦσα: cf. ἥκομεν 

. . σπεύδουσα vs. 518 f., ὃν κατώμοσ᾽ 
ἐμπεδώσομεν V. 190, ἀπαλλάξαιμεν ἂν | 
The sing. and pl. 
of the first person are interchanged 
with great freedom in tragedy. 


σώσαιμί τε vs. 994, 


351. This is a true saying after all, 


as I have come to perceive, dear friends. 


84 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


οἱ δυστυχεῖς γὰρ τοῖσιν εὐτυχεστέροις 


> Ἀ A , > la) > 
αὐτοὶ κακῶς πράξαντες ov φρονοῦσιν εὖ. 


ἀλλ᾽ οὔτε πνεῦμα Διόθεν ἦλθε πώποτε, 


355 


“Ἑλένην ἀπήγαγ᾽ ἐνθάδ᾽, 
ie ’ » 9 9 > iN > te 
Μενέλεών θ᾽, ἵν᾽ αὐτοὺς ἀντετιμωρησάμην, 


οὐ πορθμίς, ἥτις διὰ πέτρας Συμπληγάδας 


ν > 5 v2 
ἢ μ᾽ ἀπώλεσεν, 


τὴν ἐνθάδ᾽ Αὖλιν ἀντιθεῖσα τῆς ἐκεῖ, 


a 3 4 , “ἢ , 
OU μ WOTE boo Kov Aavatéau XELPOUPEVOL 


360 


» ε Ν > 43 ε ΄ὕ ΄ 
ἔσφαζον, ἱερεὺς δ᾽ ἦν ὁ γεννήσας πατήρ. 


οἴμοι (κακῶν γὰρ τῶν τότ᾽ οὐκ ἀμνημονῶ), 


ὅσας γενείου χεῖρας ἐξηκόντισα 


γονάτων τε τοῦ τεκόντος ἐξαρτωμένη, 


, TANS) > , δ ͵ 
λέγουσα τοιάδ᾽ - ὦ πάτερ, νυμφεύομαι 


--͵ἣν: the impf. with dpa, to express 
a truth tardily recognized; cf. vs. 
369, 1310, GMT. 389.— ῃσθόμην : an 
aor. strictly referring to the moment 
immediately previous to the time of 
speaking, usually represented by the 
pres. in English. This is a very com- 
mon idiom in dramatic language; see 
GMT. 60, H. 842. 

352 f. yap: namely. — The text and 
the exact interpretation of these two 
lines are uncertain. In general, the 
maxim touches the jealousy excited 
by superior good fortune and the con- 
sequent gratification felt in witness- 
ing its reversal. 

354f. ἀλλά: yet; elliptical. “Such a 
feeling would be reasonable enough,” 
reflects Iphigenia, ‘‘if the victims 
thrown into my hands were really my 
enemies. But, etc.” --- οὔτε πνεῦμα, ov 
πορθμίς : not a breeze, no bark (ἥ τι5). 
For the negative particles here, cf. τὲ 
oun... ov VS. diol., ore... Kal VS. 
591 f., ufre... te vs. 1017 f., od. 
ov vs. 178 1, 


355-357. ἥτις ἀπήγαγε: assimilated 
in time to ἦλθεν, but in sense nearly 
equiv. to wore ἀπαγαγεῖν, see GMT. 
575. The verb itself is suggestive of 
Athenian legal language, ἐπὶ θανάτῳ 
amayayetv.— ἥ μ᾽ ἀπώλεσεν : See ON V. 
8.— Μενέλεων : forms an anapaest, 
see on v. 270.—tva κτλ.: for a past 
tense of the indicative in a final 
clause, G. 1371, H. 884." 

359 f. ov: the rel. links the descrip- 
tion of the scene to the phrase of 
which it is an expansion (τῆς ἐκεῖ), 
with force and without abruptness ; 
see on vs. 920, 1960. --- ὥστε μόσχον: 
δίκαν χιμαίρας Aesch. Ag. 292, see p. 10. 
— Δαναΐδαι: ductores Danaum 
delecti Lucr. i. 86, see p. 11. — 
ἔσφαζον : note the tense. —o γεννήσας 
πατήρ: see on vy. 499. 

361-363. Ah me! I cannot forge: the 
horrors of that hour —how oft did I fling 
my arms wildly forth, to touch his cheek, 
and to the knees of my parent clinging ! 
- ὅσας χεῖρας : ὁσάκις τὼ χεῖρε. --- γε- 
νείου : gen. of the part aimed at. 


IPHIGENIA AMONG THE 


TAURIANS. 85 


365 νυμφεύματ᾽ αἰσχρὰ πρὸς ober: μητὴρ δ᾽ ἐμὲ 


/ 7 > rae $A “ 
σέθεν κατακτείνοντος ᾿Αργεῖαί τε νῦν 


ε A τ ΄ὔ 5 A \ a 
υμνουσιν υμεναιοισιν, αὐλεῖται δὲ ταν 


μέλαθρον. ἡμεῖς δ᾽ ὀλλύμεσθα πρὸς σέθεν. 


Αιδης ᾿Αχιλλεὺς ἦν ap’, οὐχ ὁ Πηλέως, 


370 


4 , 
OV μοι προτείνας πόσιν ἐν ἁρμάτων ὄχοις 


εἰς αἱματηρὸν γάμον ἐπόρθμευσας δόλῳ. --- 


ἐγὼ δὲ λεπτῶν ὄμμα διὰ καλυμμάτων 


»¥ 3 5 ΄ὕ > > > ΄ ων 
ἔχουσ᾽, ἀδελφόν 7 οὐκ ἀνειλόμην χεροῖν, 


ἃ la »¥ > ’, / 
ὃς νῦν ὁλωλεν, οὐ κασιγνήτῃ στόμα 


815 συνῆψ᾽ ὑπ᾽ αἰδοῦς, ὡς ἰοῦσ᾽ εἰς Πηλέως 


364-371. Observe the repetitions 
and alliterations in this passage of 
contrasts. 

366-368. Cf. Pacuvius’ imitation: 
hymenaetim fremunt | aequd- 
les, aula résonit crepitu miu- 
sico (Dulorestes Frag. i.).—vov: at 
this moment; emphatic by its position 
at the end of the verse.— αὐλεῖται: 
rings with flutes; passive in Greek; 
see H. 819, and cf. θυηπολεῖται δ᾽ ἄστυ 
μάντεων ὕπο Heracl. 401. 

369-371. Hades, it seems, not the son 
of Peleus, was the Achilles whom thou 
didst hoid out to me as husband, and, 
with chariots, to nuptials of murder didst 
transport me treacherously. ‘The ironi- 
cal fancy, ‘bride of Death,’ is fami- 
liar; cf. “Atdns viv ὡς ἔοικε νυμφεύσει 
τάχα Iph. Aul. 461, οὔτ᾽ ἐπινύμφειός 
πώ we Tis ὕμνος ὕμνησεν, ἀλλ᾽ ᾿Αχέροντι 
νυμφεύσω Soph. Ant. 815.— ἐν ἁρμά 
των ὄχοις : Cf. ἱππείοις ἐν δίφροισι ν. 214. 
In both passages the reminiscence 
is prompted by the contrast between 
the show and the reality. For the 
periphrasis ἁρμάτων ὄχοι, cf. μορφῆς 
σχήματα ν. 292, πέλαγος adds vy. 900, 
πέπλων ὑφάς ν. 312, 


372-379. The words addressed to 
the father are at an end. Iphigenia 
remembers the hour of her parting 
from the family at Argos. The pas- 
sage is very Euripidean and very mod- 
ern, and it is beautifully expressed. 

372-375. ἐγὼ δὲ «rA.: the reminis- 
cence here is suggested by the anti- 
thesis of ἐπόρθμευσας δόλῳ. “ Such was 
my,father’s cruel deceit, but Z all un- 
suspecting, etc.” ---Ολεπτῶν... ἔχουσα: 
looking through the gauzy veil; i.e. not 
drawing it aside, so as to fondle the 
infant Orestes, and kiss her sister 
Electra, but retaining it before her 
face to hide her blushes (ὑπ᾽ αἰδοῦς). 
Iphigenia comes from her apartments, 
to start on her journey, wearing the 
bridal veil; cf. οὐκέτ᾽ ἐκ καλυμμάτων | 
ἔσται δεδορκὼς νεογάμου νύμφης δίκην 
Aesch. Ag. 1178, — ὄμμα ἔχουσα : 
equiv. to βλέπουσα, and like the Eng. 
‘keep’ an ον, --- ἀδελφὸν κτλ.: see 
vs. 231 ΠΥ, ---- τὲ οὐκ : instead of οὔτε, in 
order to leave ἀδελφόν at the begin- 
ning of the clause, and likewise te 
join the simple neg. particie directly 
to the verb, for the sake of emphasis. 
Similarly, οὐ in vy. 374 1s more forcible 


per bet δ... 


86 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


μέλαθρα: πολλὰ δ᾽ ἀπεθέμην ἀσπάσματα 


εἰσαῦθις, ὡς ἥξουσ᾽ ἐς “Apyos αὖ πάλιν. 


ὦ τλῆμον, εἰ τέθνηκας, ἐξ οἵων καλῶν 


3, 5 ,΄, Ν \ “ 
ἐρρεις, Ορέστα, καὶ πατρὸς ζηλωμαάτων. 


380 τὰ τῆς θεοῦ δὲ μέμφομαι σοφίσματα, 
ἥτις βροτῶν μὲν ἤν τις ἅψηται φόνου, 
ἢ καὶ λοχείας ἢ νεκροῦ θίγῃ χεροῖν, 
βωμῶν ἀπείργει, μυσαρὸν ὡς ἡγουμένη, 
αὐτὴ δὲ θυσίαις ἥδεται βροτοκτόνοις. 


385 οὐκ ἔσθ᾽ ὅπως ἂν ἔτεκεν ἡ Διὸς δάμαρ 


5 fe 
Λητὼ τοσαύτην ἀμαθίαν. 


ΔΨ ΩΝ \ > 
ἔγω μεν οὖν 


ἊΝ ’ὔ om ε 4, 
τὰ Ταντάλου θεοῖσιν ἑστιάματα 


than οὔτε would have been; cf. v. 355. 
- κασιγνήτῃ: see vs. 912 ff.— ὑπ᾽ 
αἰδοῦς : construe with all that pre- 
cedes in the sentence. 

376 f. πολλὰ δὲ κτλ. : but many fond 
caresses I laid up for by-and-by, think- 
ing that I should come to Argos yet 
again. — ὡς ἥξουσα : like ὡς ἰοῦσα v. 
375. ὡς brings to view the deception 
that was put upon her. Note the sig- 
matism in these lines, and see on v. 765. 

378 f. The apostrophe follows nat- 
urally upon the thought és Ἄργος αὖ 
πάλιν, and recalls the speaker once 
inore to her present situation, and to 
her wonted attitude of humane senti- 
ment, and loathing for an unworthy 
office. — ἐξ οἵων... ζηλωμάτων : from 
what splendor and envied state of our 
father, Orestes, art thou gone! Iphige- 
nia is ignorant of the fate of Aga- 
memnon; see vy. 549.— πατρός : const. 
with both substantives; see on v. 298. 

380. σοφίσματα : 1.6. inconsistency, 
explained by vs. 381-584, and desig- 
nated as ἀμαθία ν. 386. 

381 f. ἥτις : a deity who. For the 
indef. rel. characterizing a def. ante- 


cedent, see H. 699 a.— βροτῶν μέν: 
“where morta/s are concerned ;” note 
the strength of the antithesis with 
αὐτὴ δέν. 984. --- Kal: or even. 

383. ὡς: there is a touch of sar- 
casm in the particle: “the goddess 
would have us believe that she deems 
such a person polluted.” 

385 f. οὐκ... ἀμαθίαν : it is 7mpos- 
sible that Leto, the spouse of Zeus, should 
have given birth to a being of such un- 
wisdom. 

386-388. Iphigenia takes the story 
of Tantalus’ banquet to the gods, and 
the boiling of his child Pelops, as her 
illustration of the shocking and in- 
credible in theology, because it is 
a part of the family history. Pindar 
Ol. i. 82 rejects the same tale as un- 
worthy of belief, saying ἐμοὶ δ᾽ ἄπορα 
γαστρίμαργον μακάρων τιν᾽ εἰπεῖν: cf. 
v. 991.---ἐγὼ μὲν οὖν: nay, for my 
part, I. While μέν enforces the pers. 
pron., as often, it also belongs to the 
clause, and serves with δέ (v. 389) to 
offset the two parallel examples — the 
preparatory one, τὰ Ταντάλου κτλ. 
and the present illustration in the 


IPHIGENIA AMONG THE TAURIANS. 87 


oy ee . ε a a 
ἄπιστα κρίνω, παιδὸς ἡσθῆναι Bopa, 


\ 3 3 AS > \ ¥ > , 
TOUS ὃ ἐνθάδ᾽, αὐυτους οντας ἀνθρωποκτόνους, 


390 εἰς τὴν θεὸν τὸ φαῦλον ἀναφέρειν δοκῶ" 


3Q Zz Ν > , > ΄ 
οὐδένα γὰρ οιμαι δαιμόνων εἰναι κακον. 


ΧΟΡΟΣ. 


ἊΝ / | 4 
κυάνεαι κυάνεαι σύνοδοι θαλάσσας, 


στροφὴ α’ 


9 3 > ε ’ 3 / 
ἵν οἷστρος ὁ ποτώμενος ᾿Αργόθεν 


395 


3) cee a f Z 
ἄξενον €7T οἶδμα διεπέρασε πορτιν 


᾿Ασιητίδα γαῖαν Εὐρώπας διαμείψας. 


- 5 » Ν » ᾽͵ὔ 
τίνες TOT ἄρα τὸν εὔυδρον δονακόχλοα 


case of the Taurians. —Qeotow ἑστιά- 
para: dat. with noun, instead of an 
obj. gen.; see H. 765 ἃ. -- ἡσθῆναι: 
takes its subject from θεοῖσιν. 

389 ff. τὸ φαῦλον ἀναφέρειν : attrib- 
ute their vileness. The reflection here 
comes very near the truth of perceiv- 
ing that the Taurian and Grecian 
goddesses are not identical, or, in 
other words, that supernatural beings 
are gifted with purely subjective at- 
tributes. There is nothing like the 
study of comparative mythology to 
clear away superstition. 


IV. First Srasron, vs. 392-455. 


Choral ode with dance, while the 
priestess remains upon’the scene busy- 
ing herself at the altar. ‘The burden 
of the song is a wondering inquiry 
from what part of Hellas the victims 
have come (first strophe), and what 
may have been the purpose of their 
journey (first antistrophe); a 
glance in fancy at the strange and 
venturesome voyage (second stro- 
phe), and regretful personal reflec- 
tions stirred by the event (second 


antistrophe). 
Introd. p. 47. 


For the metre, see 


(First Strophe.) 


393. By the “ Dark blue straits of 
the sea,’ the Thracian Bosphorus is 
meant, here apostrophized as the pass 
from Europe to Asia, and poetically 
distinguished by an allusion to the 
legend of Io. 

394 ff. Transformed into a heifer 
(répris), and stung by a pursuing gad- 
fly (oletpos), lo started on her wander- 
ings from her home in Argos, and the 
Strait owed its name to her crossing, 
according to a popular etymology. Cf. 
ἔσται δὲ θνητοῖς εἰσαεὶ λόγος μέγας] τῆς 
σῆς πορείας, Βόσπορος δ᾽ ἐπώνυμος | κε- 
κλήσεται. λιποῦσα δ᾽ Εὐρώπης πέδον, | 
ἤπειρον ἥξεις ᾿Ασιάδα. Aesch. Pr. 732. 

395. διεπέρασε πόρτιν : the verb is 
transitive, and the phrase suggestive 
of the word Βόσπορος (cf. Ox-ford). 

396. The const. is different from v. 
135, and like saepe Lucretilem | 
mutat Lyaeo Faunus Hor. Carm. 
telly 


399-401. τὸν εὔυδρον δονακόχλοα 


88 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


400 λιπόντες Etporav 


x LAGER Ν , 
ἢ ρεύματα σεμνὰ Δίρκας 


»Ἡ » » > ¥ , 
ἔβασαν ἔβασαν ἄμεικτον αἶαν, ἔνθα Kovpa 


re fae 
Aia τέγγει 


405 βωμοὺς καὶ περικίονας ναοὺς αἷμα βρότειον; 


> ie ’ 5 4 ’ te 
7) ῥοθίοις εἰλατίνας δικρότοισι κωπας 


ἀντιστροφὴ α΄. 


» SEN ΄ ΄ 
ἔπλευσαν ἐπι TOVTLOA KULATH 


410 


, »” »» , > » 
νάιον oyna λινοπόροισί T αὔραις 


φιλόπλουτον ἅμιλλαν αὔξοντες μελάθροισιν; 


Εὐρώταν : cf. τὸν ὑδρόεντα δόνακι χλω- 
ρὸν Εὐρώταν Hel, 849. --- ῥεύματα σεμνὰ 
(revered) Δίρκας : cf. ἢ Πειρήνας ὑδρευ- 
σομένα | πρόπολος σεμνῶν ὑδάτων 
ἔσομαι Troad. 208. ---- The Eurotas and 
Dirce respectively designate Sparta 
and Thebes, as often in poetry the 
celebrated stream or fount is named 
instead of the city itself (‘ Pirene’ for 
‘Corinth’ in the above quotation from 
the Troades). 

402 ff. ἔβασαν €Bacav: this sort 
of repetition became a mannerism 
with Euripides, cf vs. 188, 152, 392, 
864, 895: ridiculed Ar. Ran. 1352 ff. 
(see the quotation on vs. 843 f.).— 
ἄμεικτον αἶαν: the unapproachable land, 
the same thought as ἄξενον οἶδμα (in- 
hospitable billow); cf. φεύγειν ἄμικτον 
ἄνδρα (Polyphemus) Cycl. 429.—Kovpa 
Aig: in honor of the Heavenly Maid, 
ue. the daughter of Zeus, Artemis. — 
Notice the quantities in the adj Δῖος 
and the noun Aids, Ala. — περικίονας 
ναούς: cf. εὐστύλων ναῶν VY. 128, ἀμφι- 
κίονας ναούς Soph. Ant. 285, and ob- 
serve the poetic plural (pluralis ma- 
testatis). 


(First Antistrophe.) 


407-411. ἡ... μελάθροισιν: the 


gist of the question lies in the closing 
words (φιλόπλουτον κτλ.) ; all the rest 
is graphic and introductory. The 
Greek order is natural and effective, 
but can hardly be preserved .in Eng- 
lish.— Was it to heap up fondly-vying 
riches for their homes, that they, with 
double-plashing stroke of oars of fir, 
and canvas-wafting breezes, sailed their 
ocean-car over the waves of the deep2 
— ῥοθίοις : ῥόθιον “plash,” “ripple”; 
cf. vs. 425, 1138, 1587.— δικρότοισι : 
κροτεῖν. See on δίπαλτα Vv. 920. --- 
νάιον ὄχημα: periphrasis for ναῦν 
cf. ναυτίλων ὀχήματα Aesch. Pr. 408. 
— φιλόπλουτον ἅμιλλαν κτλ.: po- 
etic phrasing, perfectly intelligible, 
theugh not amenable to the ordi- 
nary processes of translation. Logi- 
cally, it is the ἁμιλλώμενοι themselves 
who are φιλόπλουτοι, but here the 
epith. is transferred to the emula- 
tion which they exhibit. Similarly 
the emulation, instead of the wealth, 
is said to be increased. For illus- 
trations of this kind of language, 
see all the great poets, ancient and 
modern. — αὔξοντες : ‘trying to in- 
crease”; thus even the pres. partici- 
ple may express purpose, see H. 969; 
cf. v. 1440, 


ὩΣ 





IPHIGENIA 


AMONG THE 


TAURIANS. 89 


φίλα yap ἐλπὶς eyever ἐπὶ πήμασι βροτῶν 


415 ἄπληστος ἀνθρώποις, 


ὄλβου βάρος ot φέρονται 


πλάνητες ἐπ᾽ οἶδμα πόλεις τε βαρβάρους περῶντες 


A , 
Kewa δόξᾳ. 


, > @ \ ¥ » A > 9 , Y 
420 γνώωμα δ᾽ οἷς μὲν ἄκαιρος ὄλβου, τοῖς δ᾽ εἰς μέσον ἥκει. 


lal , 7 Ν , 
πως TET Pas Tas συνδρομάδας, 


στροφὴ β. 


πῶς Φινεΐδας ἀύπνους 


Ib 


414 f. φίλα: fond; adapted to φι- 
λόπλουτον. --- eyever ἐπὶ πήμασι: re- 
sults in troubles ; cf. ‘come to grief.’ 
The aor. is gnomic; G. 1292, H. 840. 
-- ἄπληστος ἀνθρώποις : insutiate as 
it is in man. Dat. of reference; ἃ. 
1172, H. 771. Both ἀνθρώποις and 
βροτῶν are meant to emphasize the 
general (universal) character of the 
statement. 

416. ὄλβου βάρος : for the position 
before the relative, cf. vs. 72, 213. 
- φέρονται : seek to win. Obs. the 
mid., and the pres. of attempted ac- 
tion. 

417 f. As wanderers over the sea, 
and crossing to foreign states, with ex- 
pectation vain. —mdavyntes: adj. with 
the force of a participle.—kKew@: κενῇ. 
κεινός Ionic for κενός, as ξεῖνος for 
ξένος. 

419 f. γνώμα κτλ.: some men have 
thoughts untimely as to wealth, to others 
they moderately come.—'The strophe 
ends with a sententious eulogy of 
moderation in the quest of gain. — 
ἄκαιρος : liere with a meaning similar 
to ἄπληστος v. 415, as the antitheton 
cis μέσον shows. — els μέσον ἥκει: 
equiv. to μέσως (μετρίως) ἔχει. For 
the impers. use of ἥκειν, cf. καλῶς 
μὲν αὑτοῖς κατθανεῖν ἧκον (acc. abso- 


5 ‘\ 5 , 5 4 > Ν 
ἄκτας ἐπέρασαν παρ ἅλιον αἰγιαλὸν 


lute) βίου Alc. 291; very common in 
Hat., ¢.g. τῆς πόλιος εὖ ἡκούσης i. 30. — 
οἷς μὲν... Tots δέ: equiv. to τοῖς μὲν 
νων τοῖς δέ: ἃ rare use of the rel.; see 
H. 654 d. An example occurs in the 
celebrated epigram of Phocylides on 
the people of Leros: καὶ τόδε Φωκυλί- 
dew. Λέριοι κακοί: οὐχ ὃ μέν, ὃς δ᾽ 
οὔ | πάντες πλὴν Προκλέους - καὶ Προ- 
κλέης Λέριος. (* All, save only Her- 
mann — and Hermann’s a German.’) 


(Second Strophe.) 


421-423. πῶς... ἐπέρασαν: as 
they entered the Euxine, the adven- 
turers had to run the gauntlet, first 
of the Symplegades and then of the 
stormy shores of Salmydessus, the 
realm of King Phineus; cf. παρὰ δὲ 
κυανέων σπιλάδων didtuas adds | ἀκταὶ 
Booropia id ὁ Θρῃκῶν ἄξενος | Σαλμυ- 
δησσός Soph. Ant. 966. — ἀύπνους : the 
restless waters of this region were 
in bad repute with mariners; hence 
Aeschylus calls the coast ‘stepmother 
of ships,’ τραχεῖα πόντου Σαλμυδησσία 
γνάθος,  ἐχθρόξενος ναύταισι, μητρυιὰ 
νεῶν Pr. 726; cf. visam gementis 
litora Bospori Hor. Carm. ii. 20, 
14, insanientem...Bosporum 
ib, iii. 4. 30. 


424 f. παρ᾽ ἅλιον... δραμόντες: 





90 KYPILIAOY ἸΦΙΓΈΝΕΙΑ. 


425 em ᾿Λμφιτρίτας ῥοθίῳ δραμόντες, 


ν ’ὕ ἴων 
οπου πεντΉ κοντα κοραν 


Νηρήδων ποσὶ χοροὶ 


μέλπουσιν ἐγκυκλίοις, 


430 


> / wn 
ἐν πλησιστίοισι πνοαῖς, 


συριζόντων κατὰ πρύμναν 


εὐναίων πηδαλίων 


» , 
αυραισιν νοτιαις 


x - , 
ἢ πνεύμασι Ζεφύρου, 


435 


Ν , elit) > 
τὰν πολυόρνιθον ἐπ᾽ aiar, 


λευκὰν ἀκτάν, ᾿Αχιλῆος 


δρόμους καλλισταδίους, ἄξεινον κατὰ πόντον; 


by the sea-beach coursing, on Amphitrite’s 
rippling tide. —The Greek navigator 
hugged the shore. — Amphitrite (for 
the etym. cf. ‘ Triton’) is the female 
personification of the great deep; cf: 
ἐν πέλαγει μετὰ κύμασιν ᾿Αμφιτρίτης 
Hom. γ9)]. 

426-429. ποσὶν ἐγκυκλίοις : to the 
tread of circling feet; 1.6. ἴῃ κύκλιοι 
χοροί, ‘ring-around’ dances, ever 
popular with the mermaidens. Cf. πα- 
pa τε λευκοφαῆ ψάμαθον | εἱλισσόμεναι 
κύκλια | πεντήκοντα κόραι | Νηρέως γά- 
μους ἐχόρευσαν Iph. Aul. 1084. --- μέλ- 
πουσιν: implies dancing, together 
with the singing; cf: μετὰ μελπομένῃ- 
ow ἐν χορῷ Hom. Π 182, νύμφαι ὀρε- 
στιάδες λιγύμολποι] φοιτῶσαι πύκα ποσ- 
aly ἐπὶ κρήνῃ μελανύδρῳ  μέλπονται 
Hom. Hy. xix. 19. 

430. Cf. λινοπόροισί τ᾽ αὔραις v. 410. 
—év: ’mid. 

431-434. Whilst the well-shipped rud- 
der creaks abaft, by stress of breezes 
Srom the 
Zephyrus. SSW. winds were about 
what was needed for the main 


south, or 


breathings of 


course. — evvaiwy: adjective, proba 
bly to indicate the ‘sockets’ (edvat) 
in which the steering-oars (πηδάλια) 
rested. 

435 ff. Leucé, now Phidonisi or 
‘Snake Island,’ an uninhabited islet 
near the mouth of the Danube, fre- 
quented by sea-birds, was known as 
the Isle of Achilles, or Race-course 
of Achilles, although according to 
some accounts the δρόμοι ᾿Αχιλλέως 
lay on the mainland. It contained a 
shrine of the hero, and was haunted 
by his ghost. Cf. Αἴας Σαλαμῖν᾽ ἔχει 
πατρῴαν" | ev δ᾽ Εὐξείνῳ πελάγει pacv- 
νὰν ᾿Αχιλεὺς νᾶσον Pind. Nem. iv. 79, 
τὸν φίλτατόν σοι παῖδ᾽ ἐμοί τ᾽ ᾿Αχιλλέα 
| ὄψει δόμους ναίοντα νησιωτικοὺς | Λευ- 
κὴν κατ᾽ ἀκτὴν ἐντὸς Evdéelvou πόρου 
Androm. 1260.— ἐπ᾿ atav: const. with 
ἐπέρασαν ν. 424.—The style of this 
strophe, one long sentence, with shift- 
ing and suspended rhetorical struc- 
ture, and an ending suggestive of 
vague distance (ἄξεινον κατὰ πόντον), 
is happily suited to the subject- 
matter, 





IPHIGENIA AMONG THE TAURIANS. 91 


»Ἄ 2» > nw 4 
εἴθ᾽ evyatow δεσποσύνοις 


ἀντιστροφὴ β΄ 


440 Λήδας “Edeva φίλα παῖς 
ἐλθοῦσα τύχοι τὰν Τρῳάδα λιποῦσα πόλιν, 


79 3 Ν ΄ rs ΄ ε \ 
ιν ἀμφὶ χάιτᾳ δρόσον αιματὴραν 


εἱλιχθεῖσα λαιμοτόμῳ 


445 δεσποίνας χερὶ θάνοι 


A ὃ nw 5 5 , 
ποινὰς δοῦσ᾽ ἀντιπάλους. 


ἡδιστ᾽ ἂν τήνδ᾽ ἀγγελίαν 


δεξαίμεσθ᾽, “Ἑλλάδος ἐκ γᾶς 


πλωτήρων εἴ τις ἔβα, 


450 δουλείας ἐμέθεν 


,ὔ a sf 
δειλαίας παυσίπονος" 


καὶ γὰρ ὀνείροισι συνείην 


(Second Antistrophe.) 

439. εὐχαῖσιν δεσποσύνοις : in ac- 
cordance with our mistress’ prayer; Vs. 
354 ff. The adj. is equiv. to a posses- 
sive gen.; cf. πορφυρευτικαὶ στέγαι 
v. 263. 

441. ἐλθοῦσα τύχοι λιποῦσα: Le. 
ἔλθοι λιποῦσα. The first participle is 
contemporaneous with the verb, see 
G. 1290, H. 856 b. The chorus knows 
nothing of the issue of the Trojan 
war. 

442 f. ἀμφὶ xalra . . . εἱλιχθεῖσα : 
her hair with deadly coronet of lustral 
waters wound ; cf. v. 622. An ironical 
metaphor (éAlscew for στεφανοῦν), 
made clear as such by aiuarnpay, the 
crowning of the hair being usually a 
ceremony of festal joy. — δρόσον εἷ- 
λιχθεῖσα : corresponds to an act. const. 
with two accusatives, ἑλίσσω (ἀμφιέν- 
vuut) αὐτὴν δρόσον, the acc. of the 
thing being retained when the verb 
becomes passive. HH. 724 a. 

444-446. λαιμοτόμῳ χερί: a very 
free representation of Iphigenia’s 


function as priestess; but Helen’s case 
would be a special one, and the chorus 
takes the will for the deed in imagin- 
ing it.—S8eomolvas χερὶ θάνοι: note 
the close similarity to the antistrophic 
line Νηρηδων ποσὶ χοροί (v. 427), and 
see p. 49, Rem. on ἔλεγον — ἀντιπά- 
λους : defined by v. 358. 

447 ff. ‘Transition to wishes of a 
pleasanter sort, dear to the hearts 
of the captive women themselves. — 
ἥδιστα : most gladly of all things. 

449-451. Had but some mariner come, 
to end the sorrows of my poor se rvitude. 
- εἴ tis ἔβα: defines τήνδ᾽ ἀγγελίαν ν. 
447, like ὅτι τις ἔβη, but the condi- 
tional form adds pathos; see p. 18. 
For the mixed const. see GMT. 504. 
-- δειλαίας : const. with ἐμέθεν (ἐμοῦ. 
Note the assonance (δουλείας... δει- 
Malas) of words at the beginning of 
successive lines; cf. decmrolvas . 
molvas vs. 445f. 

452 ff. Though it be only in dreams, 
would that, etc. —«Kal: even; const. with 


oveipowwt. 


92 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


δόμοις πόλει τε πατρῴᾳ, 
τερπνῶν ὕμνων ἀπολαύειν, κοινὰν χάριν ὄλβῳ. 


455 


ἀλλ᾽ οἵδε χέρας δεσμοῖς δίδυμοι 


συνερεισθέντες χωροῦσι, νέον 


πρόσφαγμα θεᾶς" 


σιγᾶτε, φίλαι. 


τὰ γὰρ Ἑλλήνων ἀκροθίνια δὴ 


460 


ναοῖσι πέλας τάδε βαΐνει" 


οὐδ᾽ ἀγγελίας ψευδεῖς ἔλακεν 


βουφορβὸς ἀνήρ. 


> ΄ 3 » ‘= > ΄ 
@ TOTVL, €b σοι TA APEOKOVTWS 


πόλις 


465 ἃς ὁ Tap ἡμῖν 


noe τελεῖ, δέξαι θυσίας, 


, 5 ε 4 5 
νόμος οὐχ ὁσίας ἀναφαίνει. 


IPITENEIA. 


2 
ειεν " 


τὰ τῆς θεοῦ μὲν πρῶτον ὡς καλῶς ἔχῃ 


455. τερπνῶν ὕμνων : glad song. To 
Greeks a characteristic privilege of a 
blest state of existence ; 
Ἥραν vs. 221, 1145 ff. — ἀπολαύειν: 
denotes purpose or result. — χάριν: 
in apposition to the preceding clause. 
ὄλβῳ: ὄλβος includes all the means 
and conditions of happiness. 


cf. μέλπουσ᾽ 


V. Seconp Eperrsopion, vs. 456-1088. 
456-466. Two anapaestic systems 
ot the coryphaeus, accompanying the 
entrance of Orestes and Pylades as 
prisoners, manacled and guarded by 
attendants. 
456-462. Addressed to the 
reutae. 
456. οἵδε: 
on y. 236. 
458. σιγᾶτε: 


cho- 
cf. τάδε ν. 460, and see 


the hush appropriate 


to the impending rite, and to feelings 
of mingled awe and compassion. 

459. Cf. Τύριον οἶδμα λιποῦσ᾽ ἔβαν | 
ἀκροθίνια Λοξίᾳ | Φοινίσσας ἀπὸ νάσου 
Phoen, 202 (said by the captive Phoe- 
nician women of themselves).— δή : 
joined to ἀκροθίνια, as to a sup. adj., 
for emphasis (choice offerings truly). 
The whole expression is confirmatory 
of the herdsman’s description; see on 
v. 272. 

461. ἔλακεν : Adore is one of the 
poetic synonyms of λέγειν. 

463-466. Addressed to the goddess. 
- ἀρεσκόντως: acceptably.—map ἡμῖν: 
ῖ.6. παρὰ τοῖς Ἕλλησιν : contrasted with 
πόλις ἥδε. --- οὐχ ὁσίας ἀναφαίνει: de- 
clares unholy. 

467. εἶεν: an interjection not in- 
cluded in the verse indicates a pause 


IPHIGENIA AMONG THE TAURIANS. 93 


φροντιστέον μοι. 


μέθετε τῶν ξένων χέρας, 


ε 3» ε \ ae TH , 
ως OVTES ἰεροι μῆκετ ωσι δέσμιοι. 


410 ναοῦ δ᾽ ἔσω στείχοντες εὐτρεπίζετε 


a Ne (5) oN - ἘΞ 
ἃ χρὴ ᾽πὶ τοῖς παροῦσι καὶ νομίζεται. 


φεῦ. 


τίς ἄρα μήτηρ ἡ τεκοῦσ᾽ ὑμᾶς ποτὲ 

, τ LO , 5» > “ ,ὔ 
πατήρ T ἀδελφή τ᾽, εἰ γεγῶσα τυγχάνει; 
οἵων στερεῖσα διπτύχων νεανιῶν 


475 ἀνάδελφος ἔσται. 


Ν , , 3509)». ὦ 
Tas TUX aS Tus οἷὸ οτῳ 


syQ> » ΄ Ν Ν A A 
TOLALO €OOVTAL; TAVTA Y2pP TA TWYV θεῶν 


εἰς ἀφανὲς ἕρπει, κοὐδὲν οἷδ᾽ οὐδεὶς σαφῶς" 


ἡ γὰρ τύχη παρήγαγ᾽ εἰς τὸ δυσμαθές. 
/ > 4 5 > ’ὔ / 
πόθεν ποθ᾽ ἡκετ᾽, ὦ ταλαίπωροι ἕένοι; 


480 ὡς διὰ μακροῦ μὲν τήνδ᾽ ἐπλεύσατε χθόνα, 


Ν 5... 55 15 ¥ , » \ , 
μάκρον ὃ ΑἿΤ Οἰικων χβονον ἔσεσθε δὴ κατω. 


in the delivery; cf. vs. 472, 627, 742, 
1157. — πρῶτον : 1.6. before question- 
ing the prisoners, as she presently 
means to do. No particles correlative 
to μέν and πρῶτον are expressed. 

468-471. μέθετε κτλ.: said to the 
servants of the temple who have led 
in the victims. 

469. The dramatic and artistic mo- 
tives happily coincide: the victims 
of a god must approach his altar with- 
out constraint (cf on y. 328), while 
for the purposes of the coming scene 
the persons need to be free-handed, 
and Greeks alone with Greeks. 

472 it. Said to the prisoners after 
the guards have withdrawn. — Iphi- 
genia takes the youths for brothers ; 
see ν, 497. 

472-475. ἄρα: for ἄρα, as freq. in 
tragedy. The inferential particle re- 
fers elliptically to φεῦ, and is like 
Eng. indeed, with falling inflection. — 


ἀδελφὴ «TA.: Iphigenia dwells on the 
sisterly relation, because her mind is 
occupied with thoughts of her brother. 
— γεγῶσα: equiv. to οὖσα. ---- οἵων : ex- 
clamatory : bereft of what a pair! 

475 ff. τὰς τύχας... ἔσονται: τίς 
οἷδεν ᾧτινι τοιαίδε τύχαι ἔσονται; 1.6. 
“Who knows whether such ἃ fate may 
not be his own lot?” The anticipa- 
tion (prolepsis, H. 878) and the arti- 
cle τάς have a generalizing effect, 
“Who knows the ways of Fortune?” 

476-478. πάντα κτλ.: cf. ‘God 
moyes in a mysterious way, | His 
wonders to perform.’ — ἕρπει : ἕρπειν 
is one of the poetic synonyms of ἰέναι. 
—7 yap τύχη KTA.: for chance mis- 
leads and baffles human understanding. 
--- παρήγαγε: gnomic aorist. 

480f. os: causal, as in v. 487.— διὰ 
μακροῦ μὲν... μακρὸν δὲ χρόνον: 
anaphora should invariably be pre- 
served in translating; here the main 


94 EYPIUIAOY I®IPENEIA. 


ΟΡΕΣΤΗΣ. 


" ῺἮΝ“Ὴ 3 5 ’ὕ 5 Ν iw , ἴω 
τὶ ταῦτ ὀδύρει, καπι τοις μέλλουσι νων 


A A 7 > > > ΄ 
κακοισι λυπεῖς, ἬΤις €b TOT, ὦ γυναι; 


a ΓΝ 
οὔτοι νομίζω σοφόν, ὃς ἂν μέλλων θανεῖν 


485 


οἴκτῳ TO δεῖμα τοὐλέθρου νικᾶν. θέλῃ, 
t c 


> ν ν > Ν » 5 > 7 
οὐχ OOTLS AvOnv ἐγγὺς ovt οἰκτίζεται 


,ὔὕ » ε p >) Cound 
σωτηρίας avehmis* ws δύ᾽ ἐξ ἑνὸς 


\ ΄ ( , 5.5 , 
κακὼ συνάπτει, μωρίαν τ᾽ ὀφλισκάνει 


᾽ὕ > ε , Ν ͵ 3 3A » 
θνήσκει θ ομοιὼως " Τὴν τυχὴν ὃ εαν χβέεων. 


490 


ἡμᾶς δὲ μὴ θρήνει σύ: τὰς γὰρ ἐνθάδε 


θυσίας ἐπιστάμεσθα καὶ γιγνώσκομεν. 


ΙΦΙΓΕΝΕΊΙΑ. 


/, ΠῚ ε aA 5 729 3 , 
πότερος ap ὑμῶν ἐνθάδ᾽ ὠνομασμένος 


force of the passage lies in the figure. 
Long is the voyage ye have made to this 
land, and long indeed is the time ye will 
be away, in the world below. — ἀπ᾽ οἴκων : 
unemphatic, and to be construed with 
both clauses; see on v. 298.—kdrw: 
i.e. ἐν “Atdov. 

482 f. κἀπί: καὶ ἐπί. The prep. has 
a temporal force, as in the common 
phrase ἐπ᾽ ἐξειργασμένοις, and the 
thought ‘over and above’ is also con- 
tained in it. ‘ Why worry us when 
our fate is already sealed ?” — voy: 
const. with μέλλουσι: τὰ μέλλοντα νῷν 
κακά. ---λυπεῖς : λυπεῖν May be used 
absolutely ; cf. ἄγαν γε λυπεῖς Soph. 
Aj. 589, λυπεῖς γάρ id. Ant. 1084. --- 
ἥτις εἶ ποτέ: see on ys. 940 f. 

485. Will overcome by lamentation 
the terror of his end. 

486. οὐχ ὅστις : not him who. The 
clause is a repetition, in slightly dif- 
ferent terms, of the thought just ex- 
pressed in vs. 484 f. For οὐκ, see on 
vs. 954 f. 

488 f. συνάπτει: we should say 
simply makes. —ré,..7é: the parti- 


cles are correlative, and the two verls 
together explain the preceding clause, 
with asyndeton. Translate namel,, 
etc. — ὁμοίως : all the same.—édv: ¢/. 
v. 927. £ 

490f. ἡμᾶς... σύ: the personal 
pronouns are emphasized because 
there is a specific application of the 
general truth just enunciated. “And 
so do not you mourn for us.” Had 
Orestes allowed the priestess to repine 
for him, it would have been nearly the 
same thing as repining himself. — ém- 
στάμεσθα Kal γιγνώσκομεν : the down- 
right explicitness of the couplet is 
exactly suited to the mood and tem- 
per of Orestes. He gives the priestess 
to understand that his demeanor is 
not owing to any ignorance of the 
sort of fate that awaits him. 

Note the symmetry: ten lines (vs. 
482-491) in reply to the same num- 
ber (vs. 472-481). —It will also be 
observed that Iphigenia is for the 
present cured of any disposition to 
be sentimental. 


492 f. The stichomythia begins 


| 





[PHIGENIA AMONG 


THE TAURIANS. 98 


Πυλάδης κέκληται; τόδε μαθεῖν πρῶτον θέλω. 


ΟΡΕΣΤΗΣ. 


ὅδ᾽, εἴ τι δή σοι τοῦτ᾽ ἐν ἡδονῇ μαθεῖν. 


IPITENEIA. 


495 ποίας πολίτης πατρίδος Ἕλληνος γεγώς; 


ΟΡΕΣΤΗΣ. 


τί δ᾽ ἂν μαθοῦσα τόδε πλέον λάβοις, γύναι; 


ISITENEIA. 


, LO Ν ’ὔ 5 5 a 
TOTEPOV ἃ ελφὼ μητρος ἐστον εκ μιας; 


OPESTHS. 


, ’ > 5 , > , 72 
φιλότητί γ᾽ ἐσμέν, οὐ κασιγνήτω γένει. 


ΙΦΙΓΕΝΕΙΑ. 


\ > »* cr » 5 Ἔ , ΄ 
σοι ὃ ονομα 77 OLOV ἔθεθ O γέννήῆσας πατΉΡ: 


ΟΡΕΣΤΗΣ. 


500 τὸ μὲν δίκαιον δυστυχεῖς καλοίμεθ᾽ ἄν. 


with a distich; cf. vs. 1157 ff.—év- 
Gade... κέκληται : 7s called Pylades, as 
the name was reported here (v. 249).— 
τόδε... θέλω: Iphigenia is thinking 
of her letter that she wants to send to 
Argos. The name of Pylades, which 
she has already learned, furnishes her 
with a good starting-point for inqui- 
ries, in order to test the feasibility of 
despatching the missive; obs. her 
next question y. 495, and see vs, 588 f. 
494. ὅδε: indicating his compan- 
ion with a gesture.—el te δή: cf 
v. 43. — év ἡδονῇ : ἡδύ (se. ἐστι). 
496. τί πλέον λάβοις : what would 
you gain? πλέον λαβεῖν, like πλέον 
ἔχειν. --- ΟΥΟΒΙΟΒ never comes quite 
half way to meet the priestess, and 
is by no means disposed to gratify 


what seems to him an ill-timed curi- 
osity on her part. Iphigenia, on the 
other hand, evades the question which 
Orestes here puts in the place of an 
answer to her inquiry, and begins 
again from a new starting-point. 

498. Note the antithetic words at 
the beginning and end of the line. — 
κασιγνήτω: see on v. 298.— Cf. ὅ τε 
πιστότατος πάντων Πυλάδης, | ia dd ελ- 
pos ἀνήρ Or, 1014. 

499. σοί: obs. the emphasis. —o 
γεννήσας πατήρ: cf. v. 360; there for 
pathos, here calling attention to that 
which confers the right to bestow a 
name. 

500. τὸ μὲν δίκαιον : by good rights. 
—Bbvervx ets: Infortunatus.—Cf. nine 
et illum Miserum ét me Mise- 


96 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


IPITENEIA. 


ov TOUT ἐρωτῶ" τοῦτο μὲν δὸς Τῇ τύχῃ. 


ΟΡΕΣΊΗΣ. 


3 ΄ ΄ 3 ΄ > ” 
ἀνώνυμοι θανόντες οὐ γελῴμεθ᾽ av. 


IPITENEIA. 


τί δὲ φθονεῖς τοῦτ᾽; ἢ φρονεῖς οὕτω μέγα; 


ΟΡΕΣΤΗΣ. 


τὸ σῶμα θύσεις τοὐμόν, οὐχὶ τούνομα. 


ΙΦΙΤΈΝΕΙΑ. 
505 οὐδ᾽ ἂν πόλιν φράσειας ἥτις ἐστί σοι; 
ΟΡΕΣΤΗΣ. 
ζητεῖς γὰρ οὐδὲν κέρδος, ὡς θανουμένῳ. 
ΙΦΙΓΈΝΕΙΑ. 
χάριν δὲ δοῦναι τήνδε κωλύει τί σε; 
ram aéquomst nominarier 


Plaut. Pers. iv.4,95; pol me Mise- 
rum, patrone, vocares, | si vel- 
les, inquit, verum mihi po- 
nere nomen Hor. Epist.i.7,92. A 
premature ἀναγνώρισις is avoided by 
this evasion on the part of Orestes; 
see Introd. p. 19. 

501. τοῦτο μὲν x7d.: lay that to For- 
tuné. — τῇ τύχῃ : Opp. to πατήρ v. 500. 

502. This answer, as well as that 
in ν. 500, is perfectly dramatic, and 
the motive assigned for reticence is 
an ample one, especially to the Gre- 
cian mind. Orestes will preserve his 
incognito to the end, in view of the 
impending melancholy failure of all 
his hopes and efforts. 

503. Why do you object? Is your 
pride so yreat as all that?—7: this 
suggestive or in questions is generally 
to be omitted in translating. — φρονεῖς 
οὕτω μέγα: the true motive is touched 


in μέγα φρονεῖν, but the questioner is 
not aware of the peculiar circum- 
stances that intensify it. 

504. The priestess is reminded of 
(1.6. requested to mind) her business. 

506. Nay, what you ask profits noth- 
ing, seeing I am doomed to die. The 
renown of his native city could not 
help him now.— yap: elliptical, as 
often in the stichomythia, cf. vs. 520, 
529, 539, 552; here referring to the 
refusal implied in the answer. — ὡς 
θανουμένῳ: sc. ἐμοί: but the suppres- 
sion of the pronoun produces more of 
the effect of a general statement. 

507. χάριν: “as a favor,” opp. to 
κέρδος v. 506. “You can at least 
gratify me by answering my question, 
even though there is nothing to be 
gained by it.” The priestess appeals 
with better results to this new motive, 
which touches the good-breeding of 
her respondent, 





> 
Awmnarce 


IPHIGENIA AMONG THE TAURIANS. 97 


OPESTH®S. 


᾿ς Ν » “9 SN 5 , 
τὸ κλεινὸν Ἄργος πατρίδ᾽ ἐμὴν ἐπεύχομαι. 


ΙΦΙΓΕΝΕΊΙΑ. 


πρὸς θεῶν ἀληθῶς, ὦ ἕέν᾽, εἶ κεῖθεν γεγώς; 


OPESTHS. 


510 


A “ > > 
ἐκ τῶν Μυκηνῶν es αἵ ποτ᾽ ἦσαν ὄλβιαι. 


IPITENEIA. 


Ν > 5 “ ᾽’ὔ x , 4 
φυγὰς δ᾽ ἀπῆρας πατρίδος, ἢ ποίᾳ τύχῃ; 


ΟΡΕΣΤΗΣ. 


L 


᾿φεύγω 


: ’ , 5 » ε Ν ε ’ 
τρόπον γε δή τιν᾽ οὐχ ἑκὼν ἑκών. 


IPITENEIA. 


Kat μὴν ποθεινός γ᾽ ἦλθες ἐξ “Apyous μολών. 


ΟΡΕΣΤΗΣ. 


=f 5 ‘De > 5 x , Ν “δὺο ὺ 
ουκουν εμαυτῳ ny - ἐν δὲ σοι, συ τοῦθ ορα. 


IPITENEIA. 


515 


510. γέ: designates Μυκηνῶν as the 
specific name (the city), after the 
generic (“Apyos the district, ν. 508). 
—al ποτε κτλ.: said with the bitter- 
ness that pervades all the utterances 
of Orestes. 

511. φυγάς: nom. sing. — ἀπῆρας : 
cf. v. 117, where the origin of the in- 
transitive usage is discernible. 

512. φεύγω: equiv. to φυγάς εἰμι. 
—ovx ἑκὼν ἑκών: cf. ἑκὼν ἀέκοντί ye 
θυμῷ Hom. Δ 49. Here the oxymoron 
well suits the guarded reticence of 
the speaker, and is softened by τρόπον 
γε δή τινα (in a manner). Euripides’ 
fondness for this figure is ridiculed 
by Aristophanes, Ach. 396 ff. 


5 3 ¥ , , e 322 ON , 
dp av τί μοι dpaceas ὧν ἐγὼ θέλω; 


513. ποθεινὸς ἦλθες : you are more 
than The Greek adjective 
is stronger than the English. 

514. σὺ τοῦθ᾽ dpa: 1.6. “settle that 
with your own conscience.” Orestes, 
not knowing what is in the priestess’ 
mind, interprets ποθεινός of a welcome 
victim, instead of a welcome visitor. 

515. τὶ ὧν κτλ. : idiomatic for ἃ ἐγὼ 
θέλω, here like the colloquial ‘a thing 
or two’; cf. ἣν δ᾽ αὖ τι μὴ πράσσωμεν 
ὧν ἐγὼ θέλω Iph. Aul. 1025, σὺ δ᾽ εἴ 
τι δράσεις τῶνδε, μὴ σχολὴν τίθει 
Aesch. Ag. 1059. Iphigenia takes the 
opportunity of Orestes’ improved com- 
plaisance, to extend her inquiries re- 
garding affairs at home. 


welcome. 


98 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTHS. 


ὥς γ᾽ ἐν παρέργῳ τῆς ἐμῆς δυσπραξίας. 


IPITENEIA. 


Τροίαν ἴσως οἷσθ᾽, ἧς ἁπανταχοῦ λόγος. 


ΟΡΕΣΤΗΣ. 


ὡς μήποτ᾽ ὠφελόν γε μηδ᾽ ἰδὼν ὄναρ. 


IPITENEIA. 


, Peters) > ᾿ Ἂν 
φασίν νιν OUKET ουσαν οἴχεσθαι δορί. 


ΟΡΕΣΤΗΣ. 


520 


» Ν Ψ 503». » > 3 , 
εστιν Yap OUTWS, ovo ακραντ ηκουσατε. 


ΙΦΙΓΕΝΕΙΑ. 


Ἑλένη δ᾽ ἀφῖκται λέκτρα Μενέλεω πάλιν; 


ΟΡΕΣΤΗΣ. 


ν “ > 5 “ lal 5 “ ’ 
Ἥκει, κακως WY ἐλθοῦσα τῶν ἐμῶν τινι. 


IPITENEIA. 


A Lal > 5 Ἂ ’ὔ id ’ὕ 
καὶ που OTL; καμοι yap τι προυφείλει κακόν. 


516. Ay, trifle as it is beside my fate. 
— ὡς ἐν παρέργῳ: sc. φράσω τί σοι. A 
common phrase is ἐν παρέργῳ θέσθαι τι, 
“to treat something as of secondary 
importance.” --- τῆς ἐμῆς : the weight 
of this expression is probably caused 
by a feeling of antithesis. ‘“ What 
seems so highly to gratify you, is 
after all but a comparatively slight 
annoyance to me (in this bad busi- 
ness of mine).”’ —Cf. mdpepyd τοι τάδ᾽ 
ἔστ᾽ ἐμῶν κακῶν Herc. Fur. 1340. 

518. Ay, and would I never had, even 
in a dream! —pxmot ὥφελον : sc. εἰ- 
δέναι. For the const., see ἃ. 1512, 
1513, H. 871 a. 

519. οἴχεσθαι δορί: cf. οἴχεται σφα- 


γείς ν. δῦ2. δορί is a formula signify- 


ing “by the fate of war,” as we say 
‘by the sword.’ 

520. οὐδ᾽ ἄκραντα κτλ.: litotes; cf. 
v. 461; often with ἄκραντος, cf. οὐδ᾽ 
ἄκραντ᾽ ἠκούσαμεν Baccn. 1231. 

522. ἥκει. .. ἐλθοῦσα: pointed 
repetition; cf. ἦλθες... μολών ν. 513. 
- κακῶς ye κτλ.: “and to the sorrow 
of one of us she came.” — τῶν ἐμών 
τινί: Orestes means his father, whose 
return (yécrTos) —the result of the 
successful ending of the war— was 
fatal to him. 

523. κἀμοὶ κτλ.: we should say “7 
owe fier a grudge too.” Of. ἐξὸν yap 
αὐτῷ... ἀπολέσαι ἐκεῖνον, εἴπερ Tpow- 
φείλετο αὐτῷ κακόν Antiph. v. 61.— 
προυφείλει : πρό in comp., of old. 








IPHIGENTA AMONG THE TAURIANS. . 99 


OPESTH®S. 


, ΄“ lal 4 , 
Σπάρτῃ ξυνοικεῖ τῷ πάρος ξυνευνέτῃ. 


ΙΦΙΓΕΝΕΙΑ. 


525 ὦ μῖσος εἰς Ἕλληνας, οὐκ ἐμοὶ μόνῃ. 


ΟΡΕΣΤῊΣ. 


5 /, > ς ’ “ 4 4 
ἀπέλαυσα καγω δή τι τῶν KEWNS γάμων. 


ΙΦΙΓΕΝΕΙΑ. 


/ εἰν Ὁ} “A > “4 > ε ᾽ 
νόστος δ᾽ ᾿Αχαιῶν ἐγένεθ᾽, ὡς κηρύσσεται; 


ΟΡΕΣΤΗΣ. 


ὡς πάνθ᾽ ἅπαξ με συλλαβοῦσ᾽ ἀνιστορεῖς. 


ΙΦΙΓΕΝΕΙΑ. 


‘\ Ν = a 3 5 , 4 
πρὶν yap θανεῖν σε, τοῦτ᾽ ἐπαυρέσθαι θέλω. 


ΟΡΕΣΤΗΣ. 


530 ἔλεγχ᾽, ἐπειδὴ τοῦδ᾽ ἐρᾷς: λέξω δ᾽ ἐγώ. 


IPITENEIA. 


Κάλχας τις ἦλθε μάντις ἐκ Τροίας πάλιν; 


ΟΡΕΣΤΗΣ. 


ὄλωλεν, ὡς ἦν ἐν Μυκηναίοις λόγος. 


IPITENEIA. 


» 


4 


’ τ κ 
ὦ πότνι᾽, ὡς εὖ. 


525. ὦ μῖσος : meaning Helen. Ab- 
stract for concrete, as often μῖσος. 

526. ἀπέλαυσα: ἀπολαύειν is very 
often used ironically. 

528. How you do ask me about every- 
thing at once! The vécro of the Trojan 
heroes were too various in their char- 
acter to be described in an answer as 
concise as the question in v. 527. 

529. Dead men tell no tales, and 


4 ‘\ c 4 , 
TL yap ὁ ΔΛαέρτου γόνος; 


Iphigenia thinks she must get all the 
information she wants now or not at 
all. 

532. Calchas was believed to have 
died on his way home from ‘Troy, in 
the grave of the Clarian Apollo near 
Colophon, after being defeated by the 
seer Mopsus in a contest of mantic 
art. Strabo xiv. 642. 

533. ὡς ev: sc. ὄλωλεν: how yood! or 


100 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTHS. 


¥ , 3. Ὁ x 3) Je ΄ 
OUT@ VEVOOTYK OLKOV, ἐστι ὃ᾽, ως λόγος. 


IPITENEIA. 


535 


» / la > > , , 
oXoTO, VOOTOV ΜμΉΤΟΤ ELS πάτραν Τυχῶων. 


OPESTH2. 


, nw 
μηδὲν KaTevyou* πάντα τἀκείνου νοσεῖ. 


ΙΦΙΓΕΝΕΙΑ. 


Θέτιδος δὲ 


lal a , A » 
τῆς Νηρῇδος ἔστι παῖς ἔτι; 


ΟΡΕΣΤΗΣ. 


5 » 
OVK εστιν" 


ἄλλως λέκτρ᾽ ἔγημ᾽ ἐν Αὐλίδι. 


ΙΦΙΓΕΝΕΙΑ. 


δόλια γάρ, 


ε x ε ΄ 
ως ισασιν οι πεπονθότες. 


ΟΡΕΣΤΗΣ. 


i 5 
540 Tis εἶ ποθ᾽; 


ὡς ev πυνθάνει Tad’ “Ἑλλάδος. 


> IPITENEIA. 


3. Δ, 3 A » > is eS , 
ἐκεῖθέν ειμυ" TALS ΕἸ ουσ ἀπωλόμην. 


“how glad lam!” we should say. — 
τί yap κτλ.: how about Laertes’ son? 
The ellipse of πράσσει is regular; cf. 
vs. 543, 576. Obs. that Iphigenia in- 
quires after her enemies — first of all, 
Helen of course, then Calchas, finally 
Odysseus (see v. 24)—before she 
asks about her friends. 

536. ‘Pronounce no imprecations 
upon one who is already plunged in 
misfortune.” --- νοσεῖ: νοσεῖν in trag- 
edy is a freq. metaphor for trouble 
of all sorts; cf. vs. 680, 693, 950, 1018. 
Here, of the doings of the suitors of 
Penelope in Odysseus’ house. 

538. ἄλλως κτλ. : to no purpose made 
he the marriage at Aulis. The thought 
is that the stratagem by means of 
which the person of Iphigenia was 


secured for sacrifice, and the voyage 
to Troy made possible, only helped 
Achilles to his death. This is not 
perfectly dramatic from the lips of 
Orestes, although it would occur nat- 
urally to Iphigenia herself, and to the 
spectators of the play. 

539. δόλια γάρ: ay, a fraud it was. 
Pred. adj. ; sc. ἔγημεν αὐτά. She means 
to say that the pretended marriage, by 
its perfidy, may well have led to un- 
happy issues. — ὡς... ot πεπονθότες: 
under the form of a comprehensive 
statement the speaker alludes to her- 
self in a guarded way; cf. vs. 574 f. 

540. ὡς εὖ KTA.: cf. ὡς Ἑλληνικῶς 
κτλ. vs. 660 ff.— Tad’: τὰ ἀπό. 

541. ἀπωλόμην : “I met my fate,” 
lit. was lost. Cf. the similar mean- 








IPHIGENIA AMONG THE TAURIANS. 


101 


OPESTHS. 


= = A » 5 "ὦ 7 2 κα , 
ὀρθῶς ποθεῖς ap εἰδέναι τἀκεῖ, γύναι. 


IPITENEIA. 


7 > ε / 
τί δ᾽ ὁ στρατηγός, 


ἃ »Ἥ > > A 
ὃν λέγουσ᾽ εὐδαιμονεῖν; 


OPESTHS. 


, > Ν Ψ > 
TiS; οὐ yap ov vy 


5 Ky im 3 ΄, 
ἐγῷῴδα ΤΩΝ εὐδαιμόνων. 


IPITENEIA. 


545 


᾿Ατρέως ἐλέγετο δή τις ᾿Αγαμέμνων ava€. 


ΟΡΕΣΤΗΣ. 


οὐκ οἶδ᾽ - ἄπελθε τοῦ λόγου τούτου, γύναι. 


ΙΦΙΓΕΝΕΙΑ. 


μὴ πρὸς θεῶν, ἀλλ᾽ εἴφ᾽, 


ἵν᾽ -εὐφρανθῶ, ἕένε. 


ΟΡΕΣΤΗΣ. 


’ 5 ε , Ἃς > 3 , , 
τέθνηχ᾽ ὁ τλήμων, πρὸς δ᾽ ἀπώλεσέν τινα. 


IPITENEIA. 


’ , ox , > > , 
τέθνηκε; ποίᾳ συμφορᾷ; τάλαιν᾽ ἐγώ. 


ΟΡΕΣΤΗΣ. 


550 τί δ᾽ ἐστέναξας τοῦτο; μῶν προσῆκέ σοι; 


IPITENEIA. 


‘ »” > “ \ ΄ > > , 
TOV ὄλβον αὐτου TOV πάροιθ αναστενω. 


ing with the active voice: ἐπεί με yas | 
ἐκ πατρῴας ἀπώλεσεν | ἐξῴκισέν τ᾽ 
οἴκων γάμος οὐ γάμος Hec. 946, said by 
Trojan captives of the union of Paris 
and Helen. 

544. οὐ γὰρ κτλ.: ἐκεῖνός γε by ἐγὼ 
οἷδα οὐκ ἦν τῶν εὐδαιμόνων. 

545. ἐλέγετο δή: ic. ἐλέγετο εὐδαι- 
μονεῖν. 


546 f. λόγου : subject. - εἴφ᾽ : εἰπέ. 


548. πρός: adv., besides. — ἀπτώλε- 
σέν τινα: Orestes means himself; cf 
ἥδ᾽ οὖν θανεῖται, καὶ θανοῦσ᾽ ὀλεῖ τινά 
Soph. Ant. 751, said by Haemon of 
himself. 


550. rl... τοῦτο: why that sigh? 
—éorévatas: see on ησθόμην ν. 351. 
--- τοῦτο: cognate accusative. 


551. Iphigenia had nearly betrayed 
herself at v. 549. The excuse which 


102 


ΕΥ̓ΡΙΠΙΔΟΥ IbITENEIA. 


OPESTHS. 


δεινῶς yap ἐκ γυναικὸς οἴχεται σφαγείς. 


ΦΙΓΕΝΕΊΙΑ. 


> , e an ε 4 
ω πανδάκρυτος 7) KTQVOVO XY θανών. 


ΟΡΕΣΤΗΣ. 


παῦσαί νυν ἤδη μηδ᾽ ἐρωτήσῃς πέρα. 


ΙΦΙΓΕΝΕΙΑ. 


555 


, 3 3 ”~ “ , , 
τοσόνδε γ᾽, εἰ Cn τοῦ ταλαιπώρου δάμαρ. 


OPESTHS. 


3 ¥ A ἃ » 3 ae » 
ουκ €OTL* παις νιν, OV ETEX 9 OUTOS ὠλεσεν. 


ΦΙΓΕΝΕΙΑ. 


ὦ συνταραχθεὶς οἶκος. 


ὡς τί δὴ θέλων; 


ΟΡΕΣΤΗΣ. 


πατρὸς θανόντος τῇδε τιμωρούμενος. 


φεῦ . 


ΦΙΓΕΝΕΙΑ. 


ε > Q , 9 , 
ως εὖ KQAKOV δίκαιον εἰσεπράξατο. 


she here gives for her outburst of 


feeling is genuinely Greek. Cf. vs. 
378 f. 
552. γάρ: confirmatory of the 


change of fortune lamented by Iphi- 
genia. —€k γυναικός : 1.6. ἐκ TIS γυ- 
ναικός. ‘This would be understood by 
the spectator, and Iphigenia is natu- 
rally represented as understanding it. 
— For ἐκ see on vs. 220 f. 

554. Orestes sees that the conver- 
sation is approaching what is to him 
the most painful matter of all. 

556. παῖς νιν κτὰλ.: the son whom 
Note 
the pathos and gravity in expression 
and arrangement: ὃν ἔτεκε, like 6 yev- 


she bore, that same son slew her. 


for his father’s death. 


νήσας πατήρ V.360; οὗτος, placed after 
the rel. clause for rhetorical effect. 

557. ὡς τί δὴ θέλων : pray with what 
intent ? &s,idiomatically with the par- 
ticiple. 

558. Wreaking vengeance in this way 
Cf. ν. 925. — 
πατρὸς θανόντος: causal gen.; the 
same const. as if θανάτου or φόνου 
were substituted for the participle. — 
τῇϑε: ὧδε. --- τιμωρούμενος : 86. αὐτήν. 
For the pres. participle denoting pur- 
pose, see on αὔξοντες v. 411. 

559 f. φεῦ: see on v. 467. The 
exclamation and pause at this point 
are highly effective, well suiting the 
conflict of judgments that is brought 








IPHIGENIA AMONG THE TAURIANS. 


105 


OPESTHS. 


560 ἀλλ᾽ ov τὰ πρὸς θεῶν εὐτυχεῖ δίκαιος ὦν. 


ΙΦΙΓΕΝΕΙΑ. 


λείπει δ᾽ ἐν οἴκοις ἄλλον ᾿Αγαμέμνων γόνον; 


OPESTHS. 


λέλοιπεν ᾿Ηλέκτραν ye παρθένον μίαν. 


IPITENEIA. 


rf 4 4 Ἂν »Ὰ / 
τί δέ; σφαγείσης θυγατρὸς ἐστι τις λόγος . 


OPESTHS. 


5 , Ν lal 5 ε A ’ὔ 
οὐδείς γε, πλὴν θανοῦσαν οὐχ ὁρᾶν φάος. 


IPITENEIA. 


565 


wy > 5 4 ε Ἂς 3 \ ve 
τάλαιν EKELVY) χω κτάνων αὐτὴν ΠΑΤΉΡ. 


ΟΡΕΣΤΗΣ. 


κακῆς γυναικὸς χάριν ἄχαριν ἀπώλετο. 


ἸΦΙΓΈΝΕΙΑ. 


ε la) , > 3, la » , 
O TOU θανόντος ὃ εστι TALS Ἄργει πατρος; 


ε OPESTHS. 


>» 5 » ’ 5» “ \ “ 
ἔστ᾽, αθλιός gus κοὐδαμοῦ Kal πανταχοῦ. 


to view by the oxymoron κακὸν δί- 
καιον. ---- δίκαιον : instead of δίκην (ret- 
ribution) for the sake of the pointed 
rejoinder δίκαιος dv. — εἰσεπράξατο: 
exacted, —va πρὸς θεῶν : acc. of speci- 
fication. — εὐτυχεῖ: adapted with point 
to εὖ above. — The force and elegance 
of this distich can be shown in English 
only by a very free paraphrase. Jph. 
“Ah! an evil deed of justice right 
well done.” Or, “Yet Heaven does 
not well by him, just though he 
be.” 

563 f. τί δέ: transitional formula 


in questioning; τί γάρ is used simi- 
larly ; ef. ν. 820. ---- πλὴν κτλ. : the inf. 
stands in indir. disc.: sc. λόγος ἐστίν. 

566. For a bad woman’s graceless 
sake she perished. —kaxys γυναικός : 
Helen. 

567 f. ἔστι: in both lines not the 
mere copula, but a verb of existence. 
—kovdapov kal πανταχοῦ : Kal... καί, 
correlative. Oxymoron again; here 
to depict the victim of the Furies, 
driven restlessly from place to place. 
The expression is also a bitter reply 
to “Apyec in the question of Iphigenia, 


104 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


IPITENEIA. 


A » , 5 2O\ ee ἀν 
ψευδεῖς ὄνειροι, χαίρετ᾽ - οὐδὲν 7T apa. 


OPESTHS. 


570 οὐδ᾽ ot σοφοί ye δαίμονες κεκλημένοι 


lal 5" ,ὔ 5 Ν 5 4 
πτηνῶν ὀνείρων εἰσὶν ἀψευδέστεροι. 


Ν Ἂν »Ὰ lal , ΕΣ 
πολὺς ταραγμος εν ΤΕ OLS θείοις ενι 


3 las ΄ a X as ΄ 
καν τοις βροτείοις " εν δὲ λυπεῖται μόνον, 


Ψ > > » EN , \ , 
ὅτ οὐκ adpwy ὧν μάντεων πεισθεὶς λόγοις 


575 ὄλωλεν ws ὄλωλε τοῖσιν εἰδόσιν. 


569. This line marks a new stage 
in the progress of the drama. Iphi- 
genia, having ascertained that Orestes 
lives, is now quite ready to consum- 
mate her plan of sending the letter. 

570 f. Orestes knows nothing of 
the priestess’ dreams, but he adapts 
his words to her ὄνειροι and ψευδεῖς in 
a characteristic reflection of his own. 
The despondent scepticism of our 
hero, here and everywhere in the 
play, is not only thoroughly dramatic, 
—1.e. the natural outcome of his com- 
bined temperament and experience, — 
but it serves admirably as a foil, to 
set off for the spectator the high and 
beneficent purpose of the Delphian 
god.—ov8é: makes the adaptation 
close ; “neither are, etc.” — σοφοί: pred. 
For the arrangement of the words, 
see ἃ. 969, H. 667 ἃ. --- πτηνῶν: 
ornamental epithet, but well in keep- 
ing with the sentiment of the pas- 
sage. 

572. πολὺς tapaypos: utter confu- 
sion ; the opposite of ἀθανάτου φύσεως | 
κόσμον aynpw Frag. 159. --- ἔνι : ἔνε- 
στι.. 

573-575. ἕν: cognate acc. retained 
with the pass. (H. 725), correspond- 
ing to an act. const. ἕν, πολλὰ λυπεῖν 


τινά: cf. τῶν τἀλάχιστα λυπουμένων 
Frag. 98. --- λυπεῖται: passive; the 
5107. 15. seen from what follows, and is 
continued from y. 567. At the same 
time the 8d pers. is not too clear, as 
the Ist (λυποῦμαι κτλ.) would have 
been. Orestes is speaking rather for 
himself (τοῖσιν εἰδόσιν) than for the 
priestess. —oéte: causal in effect. — 
μάντεων : vaguely indicating the ora- 
cle of Apollo. — ὄλωλεν ὡς ὄλωλε: a 
common form of speech when a per- 
son for any reason does not care to 
name the particulars, or prefers to 
keep the full significance of his mus- 
ings to himself; cf. πράσσονθ᾽ ἃ πράσσω 
v. 692.— τοῖσιν εἰδόσιν : dat. of refer- 
ence. See also on of πεπονθότες ν. 559. 
—In one way only is he pained, when 
through no unwisdom of his own, by voice 
of seers persuaded, he perishes as he does 
perish, to those who know. Obs. that the 
entire suppression of a pronominal 
subject in the Greek cannot be imi- 
tated in English. 

These six lines of Orestes (vs. 570- 
575) aptly conclude and round off 
the long, and in many ways remarka- 
ble, stichomythia. Cf. the reflections 
that preceded the conversation, ys. 
475 ff. 





IPHIGENIA AMONG THE TAURIANS. 


105 


ΧΟΡΟΣ. 


po Loe τί δ᾽ mpets οἵ τ᾽ ἐμοὶ De ἼΤΟρες; 
dp εἰσίν, ap οὐκ εἰσί; τίς φράσειεν ἄν; 


IPITENEIA. 


> , 5 > \ ΄ ee ΄ 
ακουσατ * εις γὰρ δή τιν ὭΚΟΜμΕΝ λόγον, 


ς« > » > ΄ , > 
υμιν ΤΠ ΟΨνΉσιν, ω ξένοι, σπεύδουσ αμα 


\ > > ΄ , > ΟΣ ΄' 
τὸ δ᾽ εὖ μάλιστά γ᾽ οὕτω γίγνεται, 
ἀρεσκόντως ἔχει. 


ων 3, > / / > 5 »" ’, / 
θέλοις av, εἰ σώσαιμί σ᾽, ἀγγεῖλαί τί μοι 


πρὸς “Apyos ἐλθὼν τοῖς ἐμοῖς ἐκεῖ φίλοις, 


580 κἀμοί. 
εἰ πᾶσι ταὐτὸν πρᾶγμ᾽ 
δέλτον τ᾽ 

585 


> A Ψ 5 , ἈΝ 
ενεγκέιν, HV τις OLKTELPAS ELE 


ἔγραψεν αἰχμάλωτος, οὐχὶ τὴν ἐμὴν 


, ων lal A / > ν 
φονέα νομίζων χέιρα, TOV νόμου ὃ 770 


θνήσκειν σφε, τῆς θεοῦ τάδε δίκαι᾽ ἡγουμένης; 


576 f. See on vs. 340 f. Here the 
distich of the coryphaeus marks for- 
mally the Bonen noted on vy. 569. 
-- τί: as in vs. 553, 545. — ἡμεῖς, ἐμοί 
(adj.): the change from pl. to sing. 
is not exactly the same as that noted 
on vs. 348 f. A chorus may properly 
be designated by either the sing. or 
the pl. number; see H. 65 

578-580. εἰς γὰρ... κἀμοί: 
lave reached a matter now in which 
I have your interests at heart as well 
as my own.” --- λόγον: the generic 
word Adyos, answering as noun to all 
meanings of the verb λέγειν, is em- 
ployed freely in Greek where in Eng- 
lish more specific terms are needed. 
Hence the various ways of translating 
λόγος : subject, reason, excuse, argument, 
description, etc. 

580 f. οὕτω: explained by the 
foll. clause νυ. 581. --- οὕτω γίγνεται 
(.-- ,. uw _): offends against ‘ Por- 
son’s rule,’ H. 1091 (5). 


“ we 


ὧδε γίγνεται 


(_vu,— vu _) would be smoother. It 
should be remembered, however,,that 
the Greeks wrote their verses by ear, 
and every complex had its own rhyth- 
mical characterand requirements. Cf. 
v. 678, a passage not so easy to ‘cor- 
rect’ as this. —el...é€xee: ὅταν τὸ 
αὐτὸ πᾶσιν ἀρέσκῃ. “Δ happy result is 
best reached when there is identity 
of interests.” 

582. θέλοις av: addressed to Ores- 
tes, whom the priestess now knows to 
be an Argive. 

586 f. φονέα: pred. noun instead of 
fem. adj. —®vrokew σφε: mori 86. 
The subj. of the inf., which would reg- 
ularly be omitted (θνήσκειν νομίζων), 
is here expressed for the sake of clear- 
ness (H. 940 b), the pers. pron. taking 
the place of the reflexive (H. 684). 

It is not clear that Euripides hesi- 
tated to represent a woman as able 
to write (Phaedra has to write her 
own letter //ipp. 856 ff.), but he cer- 


EYPINIAOY I®ITENEIA. 


οὐδένα yap εἶχον ὅστις ᾿Αργόθεν μολὼν 


> » > Ν SN > Ν 
εις Ἄργος αὖθις τας εμας ἐπιστολὰς 


590 πέμψειε σωθεὶς τῶν ἐμῶν φίλων τινί. 


\ > > , ε ¥ » \ 
συ δ᾽, εὖ γάρ, ως €OLKAS, OUTE δυσγενὴς 


καὶ τὰς Μυκήνας οἶσθα χοῦς κἀγὼ θέλω, 


σώθητι, καὶ σὺ μισθὸν οὐκ αἰσχρὸν λαβὼν 


κούφων ἕκατι γραμμάτων σωτηρίαν. 


596 οὗτος δ᾽, ἐπείπερ πόλις ἀναγκάζει τάδε, 


tainly did not hesitate to represent 
one as unable to do so. Here, the 
episode of the captive helps Iphigenia 
to deprecate the blame of her present 
victims; cf. v. 697. 

588-590. οὐδένα γὰρ εἶχον: sc. 
“until you came.” γάρ refers to vs. 
582 f.—déotis πέμψειε: denotes pur- 
pose ; see GMT. 573. πέμψαι is here 
equiv. in sense to ἐνεγκεῖν Vv. 584, 
and again v. 604, but the verb is of 
course also applicable to the sender, as 
in vs. 615, 007. -- σωθείς : concisely ap- 
pended to πέμψειε, the recompense to 
the service rendered. — τῶν ἐμῶν φίλων 
τινί : the same expression occurs again 
in vy. 639. It is Iphigenia’s natural 
hesitation to reveal herself that pre- 
vents her from being forward in nam- 
ing the one to whom she sends the 
letter. — τὰς ἐμάς and τῶν ἐμῶν have a 
corresponding emphasis. 

591-594. σὺ δέ: in contrast to 
οὐδένα εἶχον ν. 588.— οὔτε δυσγενής : 
far from ignoble ; litotes for (and, 1 any- 
thing, stronger than) εὐγενής. Ores- 
tes has shown his breeding, with all 
his offishness and cynical reserve, and 
the priestess feels instinctively that 
he can be trusted for the honorable 
execution of any commission he may 
undertake. Cf. what she says at vs. 
609 f., after seeing a little more of 
him. — οὔτε... kal: cf homo nec 


meo iudicio stultus et suo 
valde prudens Cie. De orat. i. 39; 
see also the examples of irregular 
neg. correlatives cited on vs. 354 f. 
- χοὺς κἀγὼ θέλω: καὶ οἶσθα τούτους 
He is ac- 
quainted with just the right people. 
The third καί (κἀγώ), if not quite 
logical, is idiomatic enough. — σώ- 
θητι : takes up σωθείς (v. 590) affirma- 
tively, and points the significance of 
that word in its place. The thought 
of σωθείς, rather than of πέμψειε, is 
dwelt on here; the latter reappears 
in κούφων γραμμάτων below. —Kal ov 

.. σωτηρίαν : yourself, too, winning no 
mean recompense —a life saved, for tiny 
letters of the pen. The σώθητι is ex- 
panded, καὶ σύ being contrasted with 
animplied ὥσπερ καὶ ἐγώ. “As I gain 
a long-wished-for end, so you for your 
part will be nobly rewarded.” Iphi- 
genia emphasizes this thought of re- 
ciprocal benefit from the first (cf v- 
581).— οὐκ αἰσχρόν : for καλόν: a not 
infrequent litotes, cf. στέφανος odk αἷσ- 
xpos πόλει | καλῶς ὀλέσθαι Troad. 401. 

595. οὗτος : Pylades. — ἐπείπερ πό- 
Aus κτλ: Iphigenia lets pass no op- 
portunity to plead the necessity of the 
case; cf. v. 620. That she might pre- 
vail to save one of the victims, but 
not both, is a perfectly reasonable as- 
sumption of the plot. 


a > i / 
ods ἐγὼ θέλω σε εἰδέναι. 





IPHIGENIA AMONG THE TAURIANS. 


107 


θεᾷ γενέσθω θῦμα χωρισθεὶς σέθεν. 


ΟΡΕΣΤΗΣ. 


καλῶς ἔλεξας τἄλλα πλὴν ἕν, ὦ ξένη" 


Xx Ν ioe / > > Ν , , 
τὸ yap σφαγῆναι τόνδ᾽ ἐμοὶ βάρος μέγα. 
ὁ ναυστολῶν γάρ εἰμ᾽ ἐγὼ τὰς συμφορᾶς, 


a δὲ nw an 5» ~ / , 
οὗτος δὲ συμπλεῖ τῶν ἐμῶν μόχθων χάριν. 


» Μ' ΒΡ. ΤῊΣ > 4, “ AQ? > \ 
ουκουν δίκαιον eT ὀλέθρῳ τῳ τοὐὸ εμε 


’ / 5 Ἂς > nw lal 
χάριν τίθεσθαι καὐτὸν ἐκδῦναι κακῶν. 
ἀλλ᾽ ὡς γενέσθω. τῷδε μὲν δέλτον δίδου, 


, Ν » -ν “ » 
πέμψει γὰρ Ἄργος, ὥστε σοι καλῶς ἔχειν" 


605 


ἡμᾶς δ᾽ ὁ χρήζων κτείνετω. 


τὰ τῶν φίλων 


αἴσχιστον ὅστις καταβαλὼν εἰς ξυμφορὰς 


αὐτὸς σέσωται. 


τυγχάνει δ᾽ ὅδ᾽ ὧν φίλος, 


ὃν οὐδὲν ἧσσον ἢ ᾽μὲ φῶς ὁρᾶν θέλω. 


596. Notice the alliteration (6). 

598. τόνδ᾽ ἐμοί: juxtaposition of 
the antithetic words; cf. τοῦδ᾽ ἐμέν. 
601. For the rhythm, see on vy. 674. 
—Badpos μέγα: a grave calamity. 

599 f. “It is I that go captain in 
these ventures; he is only my mate 
for the voyage, etc.” Both figurative 
and literal. Cf. ἀλλ᾽ ἐν κακοῖς τοῖς σοῖ- 
σιν οὐκ αἰσχύνομαι | ξύμπλουν ἐμαυ- 
τὴν τοῦ πάθους ποιουμένη Soph. Ant. 
540, said by Ismene to Antigone, the 
latter being 7 ναυστολοῦσα τὺ πάθος, 
τὰς συμφοράς, Toy πλοῦν. 

601 f. ἐπ᾽ ὀλέθρῳ κτλ. : that 7, to his 
destruction, should earn the reward of 
my own deliverance from death. — ἐπί: 
denotes result or condition. — χάριν 
τίθεσθαι: 5:.σοί. Said with reference 
to Iphigenia; it is by conferring the 
requested favor on her, that Orestes 
would achieve his escape, but this re- 
sult is named in addition (καὶ αὑτὸν 
κτλ.) as the important matter with 


reference to Pylades. —avrov (ip- 
sum): construe with ἐμέ. 

603 f. ἀλλ᾽ ὥς: ὥς demonstrative, 
In Attic prose only καὶ ὥς, οὐδ᾽ ὥς, uno 
ὥς (H. 284). — πέμψει : οἴσει, cf. v. 590. 
- ὥστε σοι κτλ.;: that all shall be well 


Jor thee.— καλῶς ἔχειν : impersonal. 


605 f. ta τῶν φίλων: periphrasis 
for τοὺς φίλους, but somewhat more 
general in effect, as τοὺς φίλους itself 
would be more general here than τὸν 
φίλον or even φίλον. Cf. vs. 476, 1006, 
and see H..730 b fin. Obs. the posi- 
tion of the phrase at the head of the 
whole ‘sentence, as its theme, though 
grammatically to be const. with κατα- 
βαλών in the rel. clause. — αἴσχιστον : 
This is the main predicate. 
— ὅστις : εἴ τις. Cf. νυν. 1064, 

608. ἐμέ: regularly instead of the 
reflexive (H. 684 b).—dds ὁράν: 
often in tragedy for Gy, likewise φῶς 
βλέπειν, ἥλιον βλέπειν, or simply βλέ- 
Cf. vs. 840, 374, 118. 


sc. ἐστί. 


πειν. 


108 


ΕΥ̓ΡΙΠΙΔΟΥ IbITENEIA. 


IPITENEIA. 


> re la ε 9. 19 > A Q 
ὦ λῆμ᾽ ἀριστον, ws am eEvyevous τινὸς 


610 


ῥίζης πέφυκας τοῖς φίλοις τ᾽ ὀρθῶς φίλος, 


nw »” al » 
τοιοῦτος εἴη τῶν ἐμῶν ὁμοσπόρων 


ὅσπερ λέλειπται. 


Ν Ν 950.9 5 ie - 
Kal yap οὐδ᾽ ἐγώ, ξένοι, 


5 la , > Ν ν > =} ε A , 
ἀνάδελφός εἶμι, πλὴν OD οὐχ ὁρῶσα νιν. 


ἐπεὶ δὲ βούλει ταῦτα, τόνδε πέμψομεν 


615 


δέλτον φέροντα, σὺ δὲ Oavet: πολλὴ δέ τις 


/ AQ)? » , 
προθυμία σε TOVO ἔχουσα τυγχάνει. 


ΟΡΕΣΤΗΣ. 


4 Ν ’, Ἂ Ν Ν. , 
θύσει δὲ Tis pe Kal τὰ δεινὰ τλήσεται; 


ΙΦΙΓΕΝΕΊΙΑ. 


ἐγώ. θεᾶς γὰρ τήνδε προστροπὴν ἔχω. 


ΟΡΕΣΤΗΣ. 


¥ , > > tal 9 9 ΄) 
αζηλά Y, ὦ veavl, KOUK εὐδαίμονα. 


609 f. O noble spirit, how truly art 
thou from some goodly line descended, 
und to thy friends a friend indeed! — 
πέφυκας : πεφυκέναι is a freq. poetic 
synonym of εἶναι, but the precise 
meaning of the verb may still come 
to view and have its special appro- 
priateness, as here with its first predi- 
cate ἀπὸ pi(ms. The same remark 
may be made of γεγώς as synonym of 
ὥν: cf. v. 495, and esp. v. 509. 

611 f. τῶν ἐμῶν... λέλειπται : he 
that is left to me of my own kin. ὁμό- 
σποροι, however, here and usually, 
signifies brothers and sisters; cf. -vs. 
695, 922.— ὅσπερ : more pointed than 
the simple és. 

613. πλὴν ὅσα KTA.: except in so 
far as I behold him not. The specta- 
tor would highly enjoy the little ex- 
ception which Iphigenia, who is think- 


ing of the letter, feels constrained to 
make. ‘This ‘irony’ is beautifully 
sustained from first to last, yet per- 
haps it is seen at its best in vs. 627— 
635. 

614. βούλει: prefer. 

615 f. πολλὴ δέ τις KTA.: you are 
possessed by a singular readiness for 
that event.—rov8e: τοῦ θανεῖν. -- τὶς 
and τυγχάνει convey the tone of one 
who cannot quite satisfactorily ac- 
count for what she witnesses. 

617. καὶ... τλήσεται: and bring 
himself to the dreadful task, — τὰ δεινά : 
cognate acc.; cf. v. 869, also v. 862. 

618. προστροπήν : homage. 

619. Services wunenviable truly, 
maiden, and unblest. — ἄζηλα : general- 
izing plural (like δεινά v. 617), not- 
withstanding the sing. προστροπήν Υ͂. 
618. 


IPHIGENIA AMONG THE TAURIANS. 109 


IPITENEIA. 


620 ἀλλ᾽ εἰς ἀνάγκην κείμεθ᾽, ἣν φυλακτέον. 


ΟΡΕΣΤΗΣ. 


αὐτὴ ξίφει θύουσα θῆλυς ἄρσενας; 


IPITENEIA. 


ἀλλὰ χαίτην ἀμφὶ σὴν χερνίψομαι. 


ΟΡΕΣΤΗΣ. 


¥ 
OUK* 
ὁ δὲ 


\ , > 2Q2 ε A , 
σφαγεὺς TU; €l τάδ ἰστορειν με XP”: 


IPITENEIA. 


» ἴω 5. 
εἴσω δόμων τῶνδ᾽ εἰσὶν οἷς μέλει τάδε. 


ΟΡΕΣΤΗΣ. 


625 τάφος δὲ ποῖος δέξεταί μ᾽ ὅταν θάνω; 


IPITENEIA. 


lal ε Ν ¥ ’ 3 » XN , 
πυρ ιερον ἔνδον χάσμα G €UPWT OV TET PQs. 


OPEXTHS. 


φεῦ: 


“ » 3 5 A Ν ΄ wy, 
πῶς ἄν μ᾽ ἀδελφῆς χεὶρ περιστείλειεν av; 


620. εἰς ἀνάγκην κείμεθα : J am laid 
under the necessity. κεῖσθαι is the reg- 
ular passive of τιθέναι. Hither word 
implies motion, hence eis. 

621 f. ξίφει θύουσα: 1... σφάττουσα. 
In these two lines the same division 
of θύειν (θύσει v.617) occurs as in vy. 40 
after v. 38. — θῆλυς ἄρσενας : the jux- 
taposition of reciprocal or antithetic 
terms was much affected in the tragic 
style, though by no means peculiar 
to tragedy; cf. βαρβάροισι βάρβαρος v. 
51, παροῦσ᾽ ἀπόντι v. 62, ὁσίας ὕσιον Υ. 
130, τρεῖς μία ν. 1065, φόνῳ φόνον v. 
1223. For θῆλυς as fem., see Η, 229 ἃ, 


625. Due and proper burial rites 
were a matter of the deepest concern 
to the ancient Greek. 

626. Diodorus Siculus xx. 14 sug- 
gests that Euripides may have de- 
rived the notion of this fiery tomb 
from accounts of a Carthaginian deity 
(Κρόνος, i.e. Moloch’), upon the up- 
lifted hands of whose brazen image 
human victims were placed, whence 
they rolled into a pit of fire. —evpa- 
mov: yawning. For the form of the 
word, cf. κοιλωπός ν. 263. 

627. The duty of composing (epi 
στέλλειν) the remains, devolved upon 


110 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


IPITENEIA. 


> “a 


μάταιον εὐχήν, ὦ τάλας, ὅστις TOT εἶ, 
» ‘A \ , , Ψ, 
ηὔξω: μακρὰν γὰρ βαρβάρου ναίει χθονός. 

630 οὐ μήν, ἐπειδὴ τυγχάνεις ᾿Αργεῖος ὦν, 


ἀλλ᾽ ὧν γε δυνατὸν οὐδ᾽ ἐγὼ ᾿λλείψω χάρν. 


4, ? / 3 ΄ ’΄ 
πολύν τε γάρ σοι κόσμον ἐνθήσω τάφῳ, 


ἴω ᾽ 5 ,ὔ A Ν 7? 
ξανθῷ τ᾽ ἐλαίῳ σῶμα σὸν κατασβέσω, 


καὶ τῆς ὀρείας ἀνθεμόρρυτον γάνος 


635 ἕξουθῆς μελίσσης εἰς πυρὰν βαλῶ σέθεν. 


the female relatives of the dead. 
Orestes is thinking of Electra. In 
Sophocles, Electra herself says of 
Orestes, whom she believes dead, 
κακῶς ἀπώλου, σῆς κασιγνήτης δίχα" | 
κοὔτ᾽ ἐν φίλαισι χερσὶν ἣ τάλαιν᾽ ἐγὼ | 
λουτροῖς σ᾽ ἐκόσμησ᾽ οὔτε παμφλέκτου 
πυρὺς | ἀνειλόμην, ὡς εἰκός, ἄθλιον βάρος 
Soph. ΕἸ. 1191.-- πῶς ἂν κτλ.: the 
auestion is equivalent to a wish; see 
H. 870e. 

629. χθονός: gen. of separation 
after the adverb μακράν. 

630 f. Yet no! — for since thou art an 
Argive, so far as may be, I will not my- 
self omit the grateful service.— οὐ μὴν 
ἀλλά: see Ἡ. 1095 ο. The particles 
regularly occur as a compact ellipti- 
cal phrase, not separated as here by 
a parenthetic clause. The separation 
lends weight to the negation. This 
passage is further remarkable in hav- 
ing a negative statement (‘litotes’) 
after ἀλλά, instead of an affirmative 
one — in fact, the very negation which 
would regularly supply the ellipsis: — 
ov μὴν ἀλλ᾽ οὐκ ἐλλείψω, instead of οὐ 
μὴν (ἐλλείψω) ἀλλὰ δώσω. This again 
adds rhetorical force. — ὧν ye δύνατον : 
τούτων & ye δύνατόν ἐστι χαρίσασθαι. 
The gen. limits χάριν, and is explained 
in substance by κόσμον, ἐλαίῳ, etc. 


below. — οὐδ᾽ ἐγώ: contrasting ἐγώ 
with the subject of vaie v.629; cf. v. 
612. 

632. κόσμον: fine raiment espe- 
cially is meant; cf. καίεο δ᾽ ἔν 7 
ἐσθῆτι θεῶν καὶ ἀλείφατε πολλῷ | καὶ 
μέλιτι γλυκερῷ Hom. w 67, of the 
funeral of Achilles. — τάφῳ : viz. that 
described in vy. 626. 

633. κατασβέσω : the fire of course 
could not be quenched with oil, but 
an offering poured to feed the last 
dying flame might fairly be expressed 
by this word. 

634 f. And flower-distilled nectar of 
the brown wild bee will I cast into thy 
pyre. Cf. v. 165, and τῆς ἀνθεμουργοῦ 
στάγμα, Taugaes μέλι, in the passage 
quoted from Aeschylus on that line. 
γάνος : γάνυσθαι (Vv. 1239), of. ‘Gany- 
mede.’ Here “balm,” (‘ of a thousand 
flowers’) ; usually “cordial,” (of the 
vine) ἀμπέλου γάνος Aesch. Pers. 615, 
βότρυος Bacch. 261, 382, Διονύσου Cyel. 
415; sometimes only “ beverage,” (of 
cold water) κρηναῖον γάνος Aesch. Pers. 
483, διοσδότῳ yaver id. Ag. 1391 (the 
dew from heaven — what ‘the black 
earth drinks’). 

There is in Iphigenia’s second qua- 
train (vs. 632-635) a lisping melody 
(sigmatism modified by liquids) of 





IPHIGENIA AMONG THE TAURIANS. 


111 


ἀλλ᾽ εἶμι δέλτον 7 ἐκ θεᾶς ἀνακτόρων 


» Ἀν ie \ Ἂν 5 “ 4 
οἴσω: τὸ μέντοι δυσμενὲς μὴ ᾿μοῦ λάβῃς. 
φυλάσσετ᾽ αὐτούς, πρόσπολοι, δεσμῶν ἄτερ. 


» » A ies ΄ \ 
lows ἀελπτα τῶν ἐμῶν φίλων τινὶ 


πέμψω πρὸς “Apyos, ὃν μάλιστ᾽ ἐγὼ φιλῶ, 


καὶ δέλτος αὐτῷ ζῶντας, οὺς δοκεῖ θανεῖν, 


4 5 2. 4 ε Ν -} »ΝἮ 
λέγουσ᾽ ἀπίστους ἡδονὰς ἀπαγγελεῖ. 


ΧΟΡΟΣ. 


4 Ν Ν ’ 
κατολοφύρομαι σὲ τὸν χερνίβων 


645 


I, “ 
ῥανίσι μελόμενον ῥανίσιν αἱμακταῖς. 


ΟΡΕΣΤΗΣ. 


> Ν 5 ie) eo) ΕῚ ἊΣ 7, 5» > - 
οἶκτος yap ov ταῦτ᾽, adda χαίρετ᾽, ὦ ἕέναι. 


surpassing sweetness, fit to be de- 
scribed by Homer’s μέλιτος γλυκίων 
ῥέεν αὐδή A 249. 

637. τὸ μέντοι κτλ. : the unfriendly 
will, however, take not as from me. She 
means that he must accept the hostile 
act as the law of the land, as the cap- 
tive who wrote thie letter for her chose 
to do (vs. 585 ff.). See on v. 595. μέν- 
τοι is adversative. 
δέλτον (first word after the pause v. 
636), have corresponding emphasis. 
The priestess’ movement to fetch the 
letter that is to save the life of Py- 
lades, suggests to her once more the 
nearer approach of his companion’s 
very different fate. 

638. πρόσπολοι: the guards re- 
enter from the temple as the doors 
are opened for Iphigenia; see v. 470. 
- δεσμῶν ἄτερ: i.e. the manacles are 
not to be replaced; cf. vs. 468 f. 

639-642. ‘These lines are of the 
nature of a soliloquy, pronounced as 
sie is on the point of crossing the 
threshold, 


τὸ δυσμενές, and 


641 f. And the letter, declaring that 
they live whom he supposes dead, will an- 
nounce to him a joy incredible. —tavras 
λέγουσα: see on vy. 1047. Here the 
participle is under the influence of 
ἀπαγγελεῖ, With which it would be reg- 
ular. — The plural again enables Iph- 
igenia to avoid speaking too plainly ; 
cf. ν. 539. — ἀπίστους ἡδονάς : cf. ἀτί- 
στῳ περιβαλὼν βραχίονι v. 796, when 
the message is actually delivered; alsa 
ἄτοπον abdovay v. 842. 


(Commios. ) 


644-656. See Introd. p. 33, and 
for the metre 7b. p. 50. 

644 f. Addressed to Orestes. — σέ: 
the emphatic form, in accordance with 
the antithesis, (σὲ dé ν. 647). — pedo- 
pevov: devoted, i.e.doomed, Cf. ν. 184, 
“Avda μέλονται κάτω Hel. 1101, "Αρτεμιν, 
a μελόμεσθα Hipp. 60. — pavlow αἱ- 
μακταῖς : cf. δρύσον αἱμητηράν v. 443. 
pavis: ῥαίνειν (sprinkle). 

646. The usual idiomatic arrange- 
ment would be ἀλλ᾽ οὐ yap οἶκτος ταῦτ᾽ 


112 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΧΟΡΟΣ. 


δ δ , ΄ 2\ ΄ 
σε δὲ τυχᾶς μᾶκαρος, lw VEQAVLA, 


σεβόμεθ᾽, cis πάτραν ὅτι πόδ᾽ ἐμβάσει. 


ΠΥΛΑΔΗΣ. 


660 


alnra τοι φίλοισι, θνῃσκόντων φίλων. 


ΧΟΡΟΣ. 


ὦ σχέτλιοι πομπαί: φεῦ φεῦ ἀπόλλυσαι. 


αἰαῖ αἰαῖ. 
πότερος ὁ μέλλων; 
655 


ἔτι yap ἀμφίλογα δίδυμα μέμονε φρήν, © 


ἊΝ / x > 5 4 / 
σε παρος Uf} ἀναστενάξω γοοις. 


ΟΡΕΣΤΗΣ. 


Πυλάδη, πέπονθας ταὐτό, πρὸς θεῶν, ἐμοί; 


ἐστί, χαίρετε. Cf. ν. 118. --- γάρ: refers 
forward to χαίρετε. --- ‘* Nay, here is 
no cause for sorrow, stranger maidens, 
but for your rejoicing!” 

647 f. Addressed to Pylades. — τύ- 
Xas: causal gen. —oePopeba: nearly 
equiv. to μακαρίζομεν (congratulate). — 
mod ἐμβάσει: πόδα is very often 
joined to intrans. verbs in Euripides 
(H. 716 Rem.). Cf. eis ἄντλον ἐμβή- 
ce. πόδα Heracl. 168. We should say 
“thou wilt set foot in, etc.” 

650. ἄΐζηλα: sc. ἐστί. For the pl. 
see H. 635 a.— θνῃσκόντων φίλων : 
bray θνήσκωσι φίλοι. 

The responses of Orestes and Py- 
lades, deprecating the commiseration 
and congratulation tendered to them 
respectively by the chorus, foreshadow 
the scene which follows (vs. 672-722), 
the contest of friendship. 
choral passages, vs. 644 f. and 647 f., 
were sung each by a semichorus, as 
they very likely may have been, this 


If the two . 


would give a neat cross-arrangement 
in the grouping, thus : — 


Semi-ch. Semi-ch. 





651-656. The chorus has caught 
somewhat of the spirit that animates 
the two friends themselves. 

651. ὦ σχέτλιοι πομπαί: ah, cruel 
errand! Addressed to Pylades. — πομ- 
mal: corresponding to πέμπειν in vs. 
590, 604. — ἀπόλλυσαι: addressed to 
Orestes, as could be nrade perfectly 
clear in the representation. 

653. ὁ μέλλων : sc. ἀπολεῖσθαι, from 
ἀπόλλυσαι above. “Which is the 
one?” 


655 f. “My heart swells still with 





IPHIGENIA AMONG THE TAURIANS. 


113 


ΠΥΛΑΔΗΣ. 


3 ay? 3 κ 
ουκ oto * €PWTAS 


5 4 » , 
οὐ λέγειν ἔχοντα με. 


ΟΡΕΣΤΗΣ. 


660 


τίς ἐστὶν ἡ νεᾶνις; ὡς “Ἑλληνικῶς 


av a εθ᾽ ε a , > é SN , 
np μας τοὺς τ ἐν ίῳ πόνους 


, bt J A , > 5 5 7 Ν 
νόστον T Ἀχαιῶν τὸν T ἐν οἰωνοῖς σοφὸν 


Κάλχαντ᾽ ᾿Αχιλλέως 7 ὄνομα, καὶ τὸν ἄθλιον 


3. ,  G ¥ ψΓἘν ἊΣ ΄ 
γάμεμνον ως WKTELPEV Ὥρωτα TE με 


666 γυναῖκα παιδάς τ΄. 


» ε ΄, ΄ὕ 
ἔστιν ἡ ἕξένη γένος 


5 “A » 4 5» Ν 5, 
ἐκεῖθεν, Αργεία τις OV yap ay ποτε 


δέλτον τ᾽ ἔπεμπε καὶ τάδ᾽ ἐξεμάνθανεν, 


ε Ν , > ¥ 5 4, » 
ὡς κοινὰ πρασσουσ, Ἄργος εἰ πράσσει καλῶς. 


wavering doubt twofold.” Cf. διχθὰ 
δέ μοι κραδίη μέμονε φρεσὶν ὁρμαίνοντι 
Hom. Π 435. The Homeric μέμονας, 
μέμονεν, occurs aiso in Aeschylus and 
Sophocles. — y: without preceding 
᾿πότερον OF εἰ: cf. οὐδέ τι ἴδμεν, | ζώει 
ὅ γ᾽ ἢ τέθνηκεν Hom. δ 100. --- πάρος: 
sooner (μᾶλλον). --- σ᾽ ἀναστεναξω: 
even the emphatic σέ may suffer 
elision ; cf. vs. 708, 1069, 1085. 

658. πέπονθας ταὐτό: have you been 
affected in the same way? Of. 6 τι 
(how) μὲν ὑμεῖς, ὦ ἄνδρες ᾿Αθηναῖοι, πε- 
πόνθατε ὑπὸ τῶν ἐμῶν κατηγόρων, οὐκ 
οἷδα (the beginning of Plato’s Apol- 
og). 

659. Although Pylades’ reply is 
meant literally (“ You are asking me 
a question that I cannot answer until 
you tell me how you have been af- 
fected yourself”), his words are at the 
same time evasive in tenor, since he 
knows well that what occupies his 
own mind (vy. 672) is quite absent 
from Orestes’ thoughts. — οὐκ olSa: 


often an evasive or deprecatory 
phrase; cf. v. 546. — ἐρωτᾷς κτλ. : 
the main idea is in οὐκ ἔχοντα. 

660-663. ὡς “Ἑλληνικῶς : how like 
a Greek indeed! Cf. ν. 540.— ἀνήρε:- 
TO: ἀνερωτᾶν. --- ἐν οἰωνοῖς σοφόν: cf. 
Κάλχας Θεστορίδης, οἰωνοπόλων bx’ 
ἄριστος Hom. A 69. 

666-668. οὐ γὰρ av... ἐξεμάνθανεν : 
else she would never have undertaken to 
send the letter and to learn all this from 
us. ‘The verbs are true imperfects; 
see on ἔπεμπεν. 030. — ὡς κτλ.: “as 
one who shared the lot, if all be well 
at Argos.” 
σουσα Ἄργει might have been said; or 
formally, ὡς καλῶς πράσσουσα, “Apyos 
εἰ καλῶς πράσσει. As the line stands, 
there is a neat variation of form. — 


Concisely, ὡς κοινὰ πράσ- 


κοινὰ πράσσουσα: see On ἃ πράσσω Υ. 
692.—"Apyos: the position is to be 
noted, —el πράσσει: the indicative 
holds to the point of view of the main 
said, in effect, 
‘ / ν > / a 
Kowa πράσσω, “Apyos εἰ πράσσει καλῶς. 


subject. Iphigenia 


114 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


TIYAAAHS. 


ἔφθης με μικρόν: ταὐτὰ δὲ φθάσας λέγεις, 


670 


πλὴν ἕν: τὰ yap τοι βασιλέων παθήματα 


» a > 
ἴσασι πάντες, ὧν ἐπιστροφή τις ἦν. ---- 


ἀτὰρ διῆλθον χάτερον λόγον τινά. 


ΟΡΕΣΤΗΣ. 


» 5 
TW ; 


> Ν χ EN » x , 
€tg TO KOLVOV δοὺς αμεινον ἂν μάθοις. 


ΠΥΛΑΔΗΣ. 


» \ ’, lal , ¢ ~ ’ὔ 
αἰσχρὸν θανόντος σοῦ βλέπειν ἡμᾶς φάος" 
815 κοινῇ T ἔπλευσα, δεῖ με καὶ κοινῇ θανεῖν. 


669-671. Before unburdening his 
heart, Pylades makes a brief response 
to Orestes’ words; and we note that 
Pylades is, for the time being, less in- 
clined than Orestes to be pleased with 
the priestess. 

669. “You have got the start of 
me a little, and in so doing you say 
just what I should myself have said.” 
--- ἔφθης, φθάσας : repetition like that 
in vs. 518, 522. 

670 f. τὰ γάρ τοι κτλ. : “what hap- 
pens to princes is known to all who 
were in the least conversant with 
events.” Hence it does not follow 
that the woman is herself really a 
native of Argos, because she is inter- 
ested in Agamemnon. This is the 
one exception (πλὴν ἕν) that Pylades 
takes to his companion’s remarks. — 
ἐπιστροφή : cf. ἐπεὶ καὶ κεῖνος ἐπίστρο- 
pos ἣν ἀνθρώπων Hom. a 177 (“Odys- 
seus had dealings with the world”), — 
ἦν: the past tense by assimilation to 
the time implied in τὰ παθήματα (think- 
ing of Agamemnon); ¢f. v. 262. 

672. There is another consideration, 
however, that I have had in mind.— 
διῆλθον: the aor. refers to the mo- 


ment when Pylades heard the words 
uttered by Orestes at vs. 603 ff. — 
χἅτερον: καὶ ἕτερον: καί, besides what 
he thought in consonance with vs. 
660 Τ᾿ -- λόγον : see on v. 578. 

673. “Out with it, and let’s sce if I 
can help you!” is the thought, called 
forth by the grave and troubled air 
with which Pylades had spoken line 
672.— els to κοινὸν δούς: κοινώσαξ, 
sc. αὐτόν. ‘Two heads are better than 
one.’ 

Vs. 672 f. are transitional; likewise 
vs. 657 f. Perspicuity requires that 
all abruptness should be avoided, as 
the significant masses of the dramatic 
discourse succeed one another. 

674. The rhythm is heavy when, as 
here, a pause is allowed to divide a 
trimeter in halves. ‘This is usually 
avoided, but sometimes permitted for 
special effect; cf. ἀτιμίας μὲν οὔ, προ 
μηθίας δὲ σοῦ Soph. 4]. 1036. In v. 
673 the effect is modified by the cae- 
sura in the first foot {τίν᾽ ;). 

675. The sentence is anacoluthous, 
as far as the particles τέ and καί are 
concerned, for they cannot be correl 
ative, with the present arrangement 





IPHIGENIA AMONG THE TAURIANS. 


115 


QA A Ἂν \ , ΄ὕ 
καὶ δειλίαν γὰρ Kal κάκην κεκτήσομαι 


¥ 
Ἄργει τε Φωκέων τ᾽ ἐν πολυπτύχῳ χθονί, 


δόξω δὲ τοῖς πολλοῖσι, πολλοὶ γὰρ κακοί, 


x ~ 7 > ee 5 » / 
προδοὺς σεσῶσθαί O@ αυτος εἰς OLKOUS μόνος, 


680 


τι » ΄ SHEN a , 
ἢ κἀφεδρεύσας ἐπὶ νοσοῦσι δώμασιν 


δ᾿ “ “ ’, ’ὔ΄ 
ῥάψαι Popov σοι σὴς τυραννίδος χάριν, 


ἔγκληρον ὡς δὴ σὴν κασιγνήτην γαμῶν. 


nA 3 > lal Ν 5 5 ͵ » 
ταῦτ᾽ οὖν φοβοῦμαι καὶ δι αἰσχύνης EXO, 


5 YY > 9 > \ a ΄ ΄, 
κοὺκ ἔσθ᾽ ὅπως οὐ χρὴ συνεκπνεῦσαί μέ σοι 


685 καὶ συσφαγῆναι καὶ πυρωθῆναι δέμας, 


of the words. As the line stands, 
there is asyndeton, owing to the in- 
trusion of δεῖ (which is placed first 
after the pause for emphasis), and καί 
means a/so. ‘The sense and point, how- 
ever, are the same as with correlation, 
and τέ is not otiose. Some of the 
commentators of Euripides appear 
not to understand that the finest 
rhetoric refuses complete allegiance 
to laws of formal structure. 

676. καὶ... καί: correlative. — 
κάκην : not the adjective; obs. the 
accent. — κεκτήσομαι κτλ.: 7 shall have 
earned the name of. Cf. thy δυσσέ- 
βειαν εὐσεβοῖσ᾽ ἐκτησάμην Soph. 
Ant. 924. 

678. πολλοὶ γὰρ κακοί: 1.5. “and 
judge others by themselves.” 

679. Observe the free placing of the 
enclitic σέ, which is the obj. of προδούς. 
προδούς and σεσῶσθαι, likewise σέ and 
αὐτός, are thus brought into imme- 
diate juxtaposition. Enclitic pronouns 
may be tucked away almost anywhere, 
since there is rarely any possible am- 
biguity as to the meaning, and thus 
become valuable for rhetorical pur- 
poses. —cerwo8ar els οἴκους : cf. ν. 
1068. The sigmatism here is rather 
strong. 


680 f. ἢ καὶ... σοι: or even to have 
taken advantage of the troubles of thy 
house and devised death for thee. The 
literal meaning of ἐφεδρεῦσαι and 
ῥάψαι must be noted, though not easy 
to preserve in transtating. —émt: see 
on v. 482. Here it repeats ἐπί in 
comp. (epedpevoas). 

682. “ Heiress, forsooth, as thy sis- 
ter would be, whom I have to wife.” 
— ἔγκληρον: predicative, and em- 
phatically placed as the finger-point 
of the slanderers (v. 678). Electra 
would become ἔγκληρος by the death 
of Orestes. — ὡς δή : introduces sub- 
jectively (and with irony) the view 
of the πολλοί. --- γαμῶν : pres. with the 
sense of a pf., like φεύγω v. 512, νικᾶν, 
etc. Pylades was already married to 
Electra; see vs. 915, 922. At the 
close of the Electra, this alliance is 
enjoined upon Orestes by the Dios- 
curi: Πυλάδῃ μὲν Ἠλέκτραν δὺς ἄλοχον 
εἰς δόμους, σὺ δ᾽ “Apyos ἔκλιπε 17]. 1249. 

683. ταῦτα δι᾽ αἰσχύνης ἔχω : ταῦτ᾽ 
αἰσχύνομαι, αἰσχρὰ ἡγοῦμαι. (ΠΓ, ἐγώ σε 
δι οἴκτου χεῖρα θ᾽ ἱκεσίαν ἔχω Hee. 
851 (1.6. οἰκτείρω). This line is resump- 
tive (οὖν). 
αἰσχρόν v. 674, the first word of the 
speech, 


δι αἰσχύνης ἔχω repeats 


116 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


φίλον γεγῶτα Kat φοβούμενον ψόγον. 


OPESTHS. 


εὔφημα φώνει: τἀμὰ δεῖ φέρειν κακά: 


ἁπλᾶς δὲ λύπας ἐξόν, οὐκ οἴσω διπλᾶς. 


a Ν Ν Ν 5» / , 
ὃ yap σὺ λυπρὸν κἀπονείδιστον λέγεις, 


690 


aA? ¥ ε A » lal > Ν 
TQUT εστιν ἡμῖν, EL σε συμμοχθοῦντ ἐμοὶ 


la ἈΝ \ \ > Δ 9 > a » 
KTEVW* TO μεν y2p εις εμ OU κακως EXEL, 


, 9) τᾺ ΄ Ἂς fa) a / 
πράσσονθ᾽ a πράσσω πρὸς θεῶν, λιπεῖν βίον. 


σὺ δ᾽ ὀλβιός 7 εἶ καθαρά τ᾽, οὐ νοσοῦντ᾽, ἔχεις 


μέλαθρ᾽, ἐγὼ δὲ δυσσεβῆ καὶ δυστυχῆ. 


695 


σωθεὶς δὲ παῖδας ἐξ ἐμῆς ὁμοσπόρου 


, ἃ ¥ , ’, 3 »,᾿ 
Κτησαμενος, NV ἔδωκά σοι δάμαρτ EXEL, 


3, , 3 5 lal , > » 5059 + 14 
OVOLQA τ εμου γένοιτ αν, οὐὸ απαις δόμος 


. 


686. Because I love you, and because 
I fear the blame. — yeyora: ὄντα. 

687. εὔφημα φώνει: be silent! The 
gratuitous sacrifice of a second life 
is to Orestes an impious thought. — 
τἀμὰ «TA.: this is made clear by the 
following line. Orestes must bear his 
own fate, —that he cannot help, — 
but the death of Pylades would be a 
needless addition to his woe. 

688. But while free to bear but a sin- 
gle sorrow, a double one I will not endure. 
- ἐξόν: sc. φέρειν, from οἴσω. For 
the acc. abs., see G. 1569, H. 978. 

690. ταῦτ᾽ ἔστιν ἡμῖν: “all that 
falls on me,” viz. τὸ λυπρὸν καὶ τὸ ἐπ- 
ονείδιστον. 

691 f. τὸ εἰς ἐμέ : as regards myself: 
adverbial phrase.— οὐ κακώς ἔχει: 
the subj. is λιπεῖν βίον (sc. με).---πράσ- 
cov?’ ἃ πράσσω: faring as I do fare; 
see on dAwAev ὡς ὕλωλε V. 575.—a: 
acc. of the internal obj., instead of 
an adverb (εὖ, κακῶς πράσσειν). Cf. 
v. 668, πολλὰ... δυστυχῆ τε πράσσει 


Aesch. Sept. 338. See ἃ. 1054, Η. 
716 b. 

695-698. σωθεὶς δὲ... κτησάμενος : 
your life once saved — then, in case you 
have children, etc. σωθείς is subordi- 
nate to κτησάμενος, which, in its turn, 
forms the condition to what follows. 
—dvopa... γένοιτ᾽ av: my name will 
be continued. This is meant literally. 
Pylades would name his son Orestes, 
and regard himself as perpetuating 
the line of Agamemnon, not that of 
Strophius. Cf καὶ τῷ ἐμῷ παιδίῳ ἐθέ- 
μην τὸ vvoua τὸ ἐκείνου, ἵνα μὴ ἀνώνυ- 
μος 6 οἶκος αὐτοῦ γένηται Isaeus ii. 36, 
said by the adopted son of Menecles 
(ἐκείνου), who had died childless. The 
structure of the whole passage is ana- 
coluthous; regularly a verb in the 2d 
pers. should have followed κτησάμενος. 
See on y. 947. 

697 f. τὲ... οὐδέ: inexact correl- 
ation, as so often occurs with neg. 
particles; cf. πρὶν μὲν yap αὐτοῖν ἦν 
ἔρις, Κρέοντι τε | θρόνους ἐᾶσθαι μηδὲ 





IPHIGENIA AMONG THE TAURIANS. 


117 


πατρῷος οὑμὸς ἐξαλειφθείη ποτ᾽ av. 


ἀλλ᾽ ἕρπε καὶ ζῆ καὶ δόμους οἴκει πατρός. 


700 


ὅταν δ᾽ ἐς Ἑλλάδ᾽ ἵππιόν 7 "Apyos μόλῃς, 


πρὸς δεξιᾶς σε τῆσδ᾽ ἐπισκήπτω τάδε: 


τύμβον τε χῶσον κἀπίθες μνημεῖά μοι, 


καὶ δάκρυ᾽ ἀδελφὴ καὶ κόμας δότω τάφῳ. 


ἄγγελλε δ᾽ ὡς ὄλωλ᾽ ὑπ᾽ ᾿Αργείας τινὸς 


705 


Ν 5 ‘\ Ν ε ἈΝ , 
γυναικὸς ἀμφὶ βωμὸν ἁγνισθεὶς φόνῳ. 


καὶ μὴ προδῷς μου τὴν κασιγνήτην ποτέ, 


ἔρημα κήδη καὶ δόμους ὁρῶν πατρός. 


Ν a3 5» A Ν / > - ’ὔ 
καὶ xalp * ἐμῶν γὰρ φίλτατον σ᾽ ηὗρον φίλων, 


ὦ συγκυναγὲ καὶ συνεκτραφεὶς ἐμοί, 


χραίνεσθαι πόλιν Soph. Oed. Col. 367. 
Here, οὐδέ results from a feeling that 
the previous clause was in effect a 
simple negation (οὐκ ἂν ἀφανισθείη τὸ 
ὄνομα), While τέ was said as if merely 
καὶ δόμος μένοι were to follow. — ἄπαις : 
predicative after ἐξαλειφθείη : “be ef- 
faced through lack of issue.” Orestes 
turns the argument of Pylades in v. 
682 very effectually against him. 

699. ἕρπε: go. See on ἕρπει v. 477. 
- δόμους πατρός: viz. the house of 
Agamemnon. 

700 f. ἵππιον : cf.”Apyos ἐς ἱππόβοτον 
Hom. © 75, aptum dicet equis 
Argos ditisque Mycenas Hor. 
Carm.i. 7, 9. Here, there is pathos 
in the ornamental epithet; οὐ thre ef- 
fect of the epithets in vs. 633-635. — 
τῆσδε: he takes the hand of Pylades. 
- ἐπισκήπτω τάδε: 7 charge thee thus. 
ἐπισκήπτειν is the regular word for a 
dying man’s injunction; see especially 
Lysias xiii. 41,42. Usually with dat. 
of the person, here accusative. 

702. τύμβον: in this case a ceno- 
taph. — κἀπίθες : καὶ ἐπίθες. 

703. Cf. vs. 172 f., and the note. 


704 f. Said bitterly: death at the 
altar, and at a woman’s hands. There 
is one pause in the distich, viz. after 
γυναικός. --- ἀγνισθεὶς φόνῳ : consecrated 
to a bloody death. 

707. ἔρημα: predicative, and in 
sense connected with both objects ; 
“beholding desolation in the house 
of my father and its alliances.” To 
the κῆδος formed by his union with 
Electra, Pylades must prove true (μὴ 
προδῴς ν. 706). 

708-710. “And now, farewell! —- 
my friend of friends I found in thee 
— thou sharer of my hunting-days, 
and all my young days besides, bearer 
of many a burden of my woes.” —@ 
ovykuvaye: the two had hunted to- 
gether Φωκέων ἐν πολυπτύχῳ χθονί. 
That was where Odysseus, in his 
youth, killed the wild boar, and got 
the scar on his leg, τήν ποτέ μιν σῦς 
ἤλασε λευκῴ oddvte | Mapynadyvd’ ἐλ- 
θόντα μετ᾽ Αὐτόλυκόν τε καὶ vias Hom. 
Goethe had our passage in 
mind when he wrote: ‘Wenn wir zu- 
sammen oft dem Wilde nach | Durch 
Berg’ und ‘Thaler rannten’ Jphigenie 


τ 393. 


118 


EYPIIIAOY I®ITENEIA. 


710 ὦ πόλλ᾽ ἐνεγκὼν τῶν ἐμῶν ἄχθη κακῶν. 


ἡμᾶς δ᾽ ὁ Φοῖβος μάντις ὧν ἐψεύσατο" 


τέχνην δὲ θέμενος ὡς προσώταθ᾽ ᾿λλάδος 


> , > > a ‘al , ’ὔ 
ἀπήλασ αἰδοῖ των TAPOS μαντευμάτων. 


® Ἐν ον 50 ἐν \ οι ἃ \ \ ΄ 
@ TOVT ἐγὼ" δοὺς TALA και πεισθεὶς λόγοις, 


μητέρα κατακτὰς αὐτὸς ἀνταπόλλυμαι. 


ΠΥΛΑΔΗΣ. 


»” if Ν -, , 
ἔσται τάφος σοι, καὶ κασιγνήτης λέχος 


» 3 i > / 5 7 > 5 Ν 
οὐκ ἂν προδοίην, ὦ τάλας, ἐπεί σ᾽ ἐγὼ 
θανόντα μᾶλλον ἢ βλέπονθ᾽ ἔξω φίλον. 


ἀτὰρ τὸ τοῦ θεοῦ σ᾽ οὐ διέφθορέν γέ πω 


120 


3 g / 
μάντευμα, καίτοι γ᾽ ἐγγὺς ἕστηκας φόνου. 


ἀλλ᾽ ἔστι» ἔστιν ἡ λίαν δυσπραξία 


λίαν διδοῦσα μεταβολὰς, ὅταν τύχῃ. 


ii. 1, said by Orestes to Pylades. 
συνεκτραφείς is also finely expanded 
by Goethe in the same scene :— 
the life together in Phocis, when his 
cheery cousin flitted about the fate- 
laden Orestes, ‘Gleich einem leichten, 
bunten Schmetterling | Um eine dun- 
kle Blume.’—@ πόλλ᾽ ἐνεγκὼν τῶν 
ἐμῶν ἄχθη κακῶν: note the vocaliza- 
tion, the solemn roll of the w-sound. 
Cf. τῶν σῶν τε κἀμῶν ovK ὕπωπ᾽ ἐγὼ 
κακῶν Soph. Ant. 6, μέγιστα πάντων ὧν 
trom ἐγὼ κακῶν id. El. 763, ‘Where 
rolls the Oregon, and hears no sound| 
Save his own dashings.’ 

711. ἡμᾶς δέ: as for me. —payres 
ὧν: cf.v.574. μάντις had come to be 
an unpopular title at the time this 
play was written.— Orestes invaria- 
bly comes around to his sceptical 
grievances, and Pylades quite as in- 
variably fails to be infected. 

712. τέχνην θέμενος : τεχνησάμενος. 
Cf. the reproach in y. 77. Orestes 


here charges the oracle with finally 
contriving to put him out of the 
way, to save its credit, the first re- 
sponse, commanding matricide, hay- 
ing proved a mistake. 

714. ᾧ.... τἀμά : committing to him 
my αἰ!. ---- ἀλόγοις : sc. αὐτοῦ, from ᾧ, 

716-718. A sepulchre thou shalt have, 
and to thy sister I will ne’er prove false, 
unhappy man, etc. The arguments of 
Orestes were unanswerable, and Py- 
lades, like a sensible man, does not at- 
tempt to answer them.— ἕξω φίλον : 
will [ hold thee dear. The hyperbole 
in this line is perfectly natural. 

719 f. For the spirit of Pylades’ 
words, cf. v. 105.— καίτοι κτλ. : ποῦ ἃ 
dependent clause, since καίτοι ἕστηκας 
cannot be grammatically equiv. to 
καίπερ ἑστηκώς ΟΥ̓ ἑστῶτα, in classic 
Greek. Translate, however: “though 
near indeed to death thou standest.” 

721. ἔστιν... διδοῦσα : δίδωσι. See 
GMT. 831. The periphrasis is here 


730 





employed for the sake of beginning 
with the energetic formula ἔστιν 
ἔστιν, Which occurs elsewhere, and 
was esp. liked by Demosthenes. — 
ὅταν τύχῃ: sc. δοῦσα. This limita- 
tion makes it clear that the whole 
saying is general and not particular. 
—‘“There 7s, there is in the worst of 
luck the best of chances for a happy 
change, if change should be.” — Note 
the repetition of λίαν. 

723 f. Iphigenia re-enters, and to 
Orestes her appearance is a sign con- 
firmatory of his own judgment of the 
god.—olya: say no more. See on 
vy. 458. ---ἔξω περᾷ: cf. v. 1217. 

725 f. Addressed to the guards, 
who again withdraw into the temple. 

727. δέλτου πολύθυροι διαπτυχαί: 
the letter’s leafy folds; a graphic peri- 
phrasis for δέλτος. Iphigenia is all 
bound up in this letter. —The Greeks 
said θύραι of folded tablets, as we say 
‘folding-doors.’ The Mss. of Eurip- 
ides here give πολύθρηνοι, against sense 
and metre, but the true reading πολύ- 
θυροι has been recovered from Aris- 
totle, Rhet, iii. 6, who quotes y. 727 


IPHIGENIA AMONG THE TAURIANS. 


119 


OPESTHS. 
σίγα- τὰ Φοίβου δ᾽ οὐδὲν ὠφελεῖ μ᾽ ἔπη " 
γυνὴ γὰρ ἥδε δωμάτων ἔξω περᾷ. 


ἸΦΙΓΈΝΕΙΑ. 
125 ἀπέλθεθ᾽ ὑμεῖς καὶ πὰρευτρεπίζετε 
ΒΡ , las 5 lal A 
τἄνδον μολόντες τοῖς ἐφεστῶσι σφαγῇ. 
δέ \ Lo , ’ 
έλτου μὲν αἵδε πολύθυροι διαπτυχαΐί, 
. ξένοι, πάρεισιν ἃ δ᾽ ἐπὶ τοῖσδε βούλομαι 
5 ‘4 > 3 \ (oN 5 ’ 3 ΘΟ 
ἀκούσατ᾽ - οὐδεὶς αὑτὸς ἐν πόνοις T ἀνὴρ 
ν Ν κ᾿ »,ὕ 5 / ’ 
ὅταν τε πρὸς τὸ θάρσος ἐκ φόβου πέσῃ. 
5 Ν \ a Ν 3 LA Ν. 
ἐγὼ δὲ ταρβῶ μὴ ἀπονοστήσας χθονὸς 


to illustrate the poetic ‘pluralis 
maiestatis. The ancients made 
their quotations from memory, and in 
most cases of a disagreement of texts, 
like the above, the writer who quotes 
is wrong and the Mss. of the author 
quoted are right. Thus Diodorus, in 
the passage cited on v. 626, gives χθο- 
νός in place of πέτρας, quoting the line 
of Euripides. 

728-730. ἐπὶ τοῖσδε: next. — ἐν πό- 
νοις τε: ὅταν τ᾽ ἐν πόνοις ἢ. --- θάρσος : 
expresses the state of mind wherein 
one has nothing to fear, as often 
the imy. θάρσει is virtually negative 
(“fear ποῦ !᾽).-- πέσῃ : for πίπτειν of 
passing into a new state, cf. the word 
περιπέτεια (See p. 16).—In English 
we should be disposed to invert the 
order of the Greek sentence. “ No man 
is the same (7.e.so scrupulous to fulfil 
his obligations) after escaping from 
alarm, as when in the midst of dan- 
ger.” 

731-733. ἐγὼ δέ: and so now 1. 
Personal application of the general 
truth just stated (cf v. 490). The 
weight of τὰς ἐμάς and τήνδε is due to 


120 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


Ar 3 ΤΩΣ Ν Duran 3 S 
ται παρ OVOEV TAS εμᾶς ἐπιστολὰς 


ὁ τήνδε μέλλων δέλτον εἰς “Apyos φέρειν. 


ΟΡΕΣΤΗΣ. 


, A , Ls > A , 
τί. δῆτα βούλει ; Tivos ἀμηχανεῖς πέρι ; 


IPITENEIA. 


735 


ν Vd id 4 \ 
ὅρκον δότω μοι τάσδε πορθμεύσειν γραφὰς 


πρὸς “Apyos οἷσι βούλομαι πέμψαι φίλων. 


ΟΡΕΣΤΗΣ. 


fy > , oN \ > Ν , 
ἢ κἀντιδώσεις τῷδε τοὺς αὐτοὺς λόγους ; 


ΙΦΙΓΕΝΕΙΑ. 


τί χρῆμα δράσειν ἢ τί μὴ δράσειν ; λέγε. 


ΟΡΕΣΤΗΣ. 


ἐκ γῆς ἀφήσειν μὴ θανόντα βαρβάρου. 


IPITENEIA. 


740 δίκαιον εἶπας" πῶς yap ἀγγείλειεν ἄν; 


ΟΡΕΣΤΗΣ. 


ἢ καὶ τύραννος ταῦτα συγχωρήσεται; 


the same reference. — μὴ ἀπονοστή- 
σας : pronounced as one word (Η. 78). 
— Lest, on his safe arrival home from this 
land, ete. — θῆται παρ᾽ οὐδέν : map’ oAl- 
_ you ποιήσηται, περὶ οὐδενὸς ἡγήσηται. 

737. τοὺς αὐτοὺς λόγους : a like as- 
surance. τοὺς αὐτούς, merely to en- 
force the idea of perfect reciprocity 
(avTi-déoes). 

738 f. The infinitives depend upon 
ἀντιδώσεις λόγους VY. 737, in the same 
const. of indirect discourse as at v. 735. 

740. δίκαιον εἶπας : “a reasonable 


stipulation.” — πῶς γάρ: how else? — 
Noteworthy is the cleverness that 
everywhere distinguishes Iphigenia, 
There is nothing of the hebetude 
which is apt to come from learning 
to read and write. — Orestes seems to 
have been over-anxious to assure him- 
self that the letter is really going to 
be sent. 

741. ἢ καί: καί, really; in v. 787, 
also. — τύραννος : Orestes has al- 
ready been presented to Thoas, vs. 
393 f. Differently the pl. v. 109, 





IPHIGENIA AMONG THE TAURIANS. 


121 


IPITENEIA. 


, 
Val. 


7 5 Ἂν Ν 5 fe ’ 
πείσω σφε, καὐτὴ ναὸς εἰσβήσω σκάφος. 


ΟΡΕΣΤΗΣ. 


,» \ > » > ¢ “ > ΄ 
ὄμνυ: σὺ δ᾽ ἔξαρχ᾽ ὅρκον ὅστις εὐσεβής. 


IPITENEIA. 


δώσω, λέγειν χρή, τήνδε τοῖσι σοῖς φίλοις. 


ΠΥΛΑΔΗΣ. 


745 


“A A 7 4 5 5 2 ’, 
τοῖς σοῖς φίλοισι γράμματ᾽ ἀποδώσω τάδε. 


IPITENEIA. 


5. ἜΑ \ ΄ ΄ » ΄ 
καγὼ σέ σώσω KUAVEAS ἔξω πέτρας. 


ΠΥΛΑΔΗΣ. 


,΄᾽» > 5 /, DQ? A 
TW ουν επομνυς τοισίὃ Ορκιον θεῶν ; 


IPITENEIA. 


¥ 19 a ΄ Ν 3» 
Ἄρτεμιν, ἐν ἧσπερ δώμασιν τιμὰς ἔχω. 


ΠΥΛΑΔΗΣ. 


> Ν > 3, , > > “ Ν “A 
ἐγὼ δ᾽ ἄνακτά Ύ ovpavov, σεμνὸν Δία. 


742. val: see on vy. 467. Iphigenia 
hesitates, apparently reflecting that 
the king will not be prevailed upon 
to release even one of the victims with- 
out reluctance. — καὶ... σκάφος : and 
will myself see your companion on board 
ship.—vass σκάφος : ναῦν, acc. of 
limit of motion; for the primary obj. 
of the verb, sc. τόνδε. 

743. ‘Tu Pylades, iura; tu 
vero, Iphigenia, praei verba 
iurisiurandi cuiuslibet quod 
pium sit.’ 

744 f. τήνδε: she hands him the 
letter; φῇ v. 701.— ἀποδώσω : ἀποδοῦ- 


ναι is to deliver to the right person; 


cf. v. 791. 
746. πέτρας : see on y. 241, 
747. τίνα κτλ.: ἐπομνύναι ὕρκιον 


(pred.) θεόν τινι is to invoke the name 
of a god as witness or guardian of 
some oath taken, the ace. (riva;) of 
the god sworn by, and the dat. (τοισίδε) 
of the substance of the oath (after ἐπί 
in comp.). We should say “In the 
name of what divinity do you swear 
this thing 7 ᾿" 

749. γέ: because Pylades feels that 
he is outbidding Iphigenia. The lord 
of heaven itself. 


ΤΥΡΙΠΊΔΟΥ I®ITENEIA. 


IPITENEIA. 


750 εἰ δ᾽ ἐκλιπὼν τὸν ὅρκον ἀδικοίης ἐμέ; 


ΠΥΛΑΔΗΣ. 


» » 
ανοστος ειὴν. 


’ δὲ 4, Ν 7, , 
TL O€ OV, μὴ σώσασα με; 


IPITENEIA. 


μήποτε Kat Ἄργος ζῶσ᾽ ἴχνος θείην ποδός. 


ΠΥΛΑΔΗΣ. 


ἄκουε δή νυν ὃν παρήλθομεν λόγον. 


IPITENEIA. 


> 3 » » ey, EN an » 
ἀλλ᾽ οὕτις ἔστ᾽ ἀκαίρος, ἣν καλῶς εἐχῃ. 


ΠΥΛΑΔΗΣ. 


755 


τὶ ’ / x 4D » nw , 
ἐξαίρετόν μοι δὸς τόδ᾽, WV τι ναὺς πάθῃ, 


χὴ δέλτος ἐν κλύδωνι χρημάτων μέτα 


5 XN , la > 5 ΄ὔ , 
ἀφανὴς γένηται, σωμα ὃ εκσωσω μόνον, 


x 7 > if 43 3» 
TOV OpkKOV ειναι τόνδε PY KET ἔμπεδον. 


IPITENEIA. 


ἀλλ᾽ ota ὃ δράσω; πολλὰ γὰρ πολλῶν κυρεῖ. 


750-752. The ceremony is con- 
cluded with the usual self-imprecation 
in case of violating the covenant (κατ᾽ 
ἐξωλείας ὀμνύναι) : εἰ ἐπιορκῷῶ, ἐξώλης 
Cf. ἐπειδὴ δὲ ὥμοσεν ἐξώ- 
λειαν ἑαυτῷ καὶ τοῖς παισὶν ἐπαρώμενος 
Lys. xii. 10. -- αἰ. .. ἀδικοίης ἐμέ: 
the wish ἄνοστος εἴην forms the apod- 
osis. This might have been antici- 
pated in the form of the question; 
cf. τί δ᾽ ὅρκῳ τῷδε μὴ Mmmevwv πάθοις; 
(“What do you hope to suffer 1 7) 
Med. 754.— tl δὲ σύ: sc. ἐπαρῇ σαυτῇ; 


ἀπολοίμην. 


(εὔχει παθεῖν)).----μιήποτε κτλ.: amounts 
to precisely the same thing as Pyla- 
des’ ἄνοστος εἴην. 


753 f. Transitional lines. A new 
head of discourse begins here. — 
ἄκαιρος : said with reference to παρ- 
ἤλθομεν. The line has the air of a 
proverb. ‘A good remark is always in 
season.’ 

755-758. ἐξαίρετον: 
though in the Greek an adj.— ἥν τι 

ον πάθῃ : εἴ τι πάθοι, euphemistic for- 
mula; if anything should happen to the 
ship. —xpynpatav peta: together with 
everything on board; so that no exer- 
tions would avail to save the letter. 
-- ἔμπεδον : binding. 

759-761. πολλὰ πολλῶν κυρεῖ: pro- 
verbial. ‘Much said much won’ κυ- 


exception, 


760 


ἐν ἀσφαλεῖ yap. 


765 





IPHIGENIA AMONG THE TAURIANS. 


123 


τἀνόντα κἀγγεγραμμέν᾽ ἐν δέλτου πτυχαῖς 
λόγῳ φράσω σοι πάντ᾽ ἀναγγεῖλαι φίλοις. 
ἣν μὲν ἐκσώσῃς γραφήν, 
αὕτη φράσει σιγῶσα τἀγγεγραμμένα" 
xX na 
ἣν δ᾽ ἐν θαλάσσῃ γράμματ᾽ ἀφανισθῇ τάδε, 
τὸ σῶμα σώσας τοὺς λόγους σώσεις ἐμοί. 
ΠΥΛΑΔΗΣ. 

καλῶς ἔλεξας τῶν τε σῶν ἐμοῦ θ᾽ ὕπερ. 

΄ ΒΟΥ ΕΣ \ , 2 3 ἐν ΄ 
σήμαινε δ᾽ ᾧ χρὴ τάσδ᾽ ἐπιστολὰς φέρειν 

X\ ν πότον Ν ,ὕ ’ id 
πρὸς Apyos o τι τε χρὴ κλύοντα σου λέγειν. 


IPITENEIA. 


ἀγγελλ᾽ ᾿Ορέστῃ, παιδὶ τἀγαμέμνονος " 


110 ἡ *y Αὐλίδι σφαγεῖσ᾽ ἐπιστέλλει τάδε 


ζῶσ᾽ ᾿ἸΙφιγένεια, τοῖς ἐκεῖ δ᾽ οὐ ζῶσ᾽ ἔτι. 


ρεῖν is ἃ poetic synonym οἵ τυγχάνειν. 
—TavovTa κἀγγεγραμμένα: τὰ ἐνόντα 
καὶ ἐγγεγραμμένα (couplet), the contents 
that are written there. —oyo: by word 
of πιοιλι. -- πάντα : const. with what 
follows. — ἀναγγεῖλαι : ἀπαγγεῖλαι, 
denoting purpose. 

762-765. ἐν ἀσφαλεῖ γάρ: sc. ἐστί. 
“Then we have a sure thing,” ex- 
plained by what follows (ἣν μὲν... 
ἣν δὲ KrA.), where the asyndeton is to 
be noted. For the adverbial phrase 
with ἐν and adj., cf. ἐν καλῴ εἰμές 
Theocr. xv. 73, ἐν καλλίονι Dem. xiv. 
28; with substantive, ἐν ἡδονῇ v. 494, 
ἐν παρέργῳ ν. 516; other examples are 
more familiar,as ἐν κοινῷ, ἐν μέσῳ, elec. 
—airy: δε, deictic and emphatic as 
contrasted with the bearer of the 
letter. 

765. Notice the sigmatism. The 
stock example is ἔσωσά o ὡς ἴσασιν 
Ἑλλήνων too. Med. 476, ridiculed by 


the comic poets, one of whom offered 
thanks for being saved ἐκ τῶν σῖγμα 
τῶν Εὐριπίδου Cf. ‘Which touching 
but my gentle vessel’s side, [ Would 
scatter all her spices on the stream, 
| Enrobe the roaring waters with my 
silks’ Shak. Merch. of Ven.i.1. See 
vs. 374-277, 668, 679-681. — σῶμα 
σώσας: σῶμα σῶσαι was a familiar 
alliterative saying; cf. ὃ 8 ἀγαπήσει» 
με ἔφασκεν, εἰ τὸ σῶμα σώσω (‘saved 
my skin’) Lys. xii. 11. 

766. τῶν σῶν: i.e. 
τὰ σά. 

768. κλύοντά σου: /rom you; the par- 
ticiple is superfluous in English. 

770 f. ‘The beginning of the epistle, 
which is continued (with interrup- 
tions) in the direct form as far as vy. 
779 COpéora), and again in an indirect 
form vs. 783-786 (alav).— τάδε: viz. 
κόμισαί με κτλ. vs. 744 ff. — τοῖς ἐκεῖ: 
dat. of reference (G. 1172, H. 771). 


σεαυτῆς, Nom. 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTHS. 


A 3 » > 5 “ lal 5 4 ’ 
ποῦ δ᾽ ἔστ᾽ ἐκείνη; κατθανοῦσ᾽ ἥκει πάλιν ; 


ISITENEIA. 


nO ἣν ὁρᾷς av: μὴ λόγοις ἔκπλησσέ pe. — 


΄ὕ ΄ὕ eS » > ΄ \ a 
κόμισαὶ μα ἐς Apyos, ὦ σύναιμε, πριν θανεῖν, 


775 


ἐκ βαρβάρου γῆς Kat μετάστησον θεᾶς 


σφαγίων, ἐφ᾽ οἷσι ἕξενοφόνους τιμὰς ἔχω. 


ΟΡΕΣΤΗΣ. 


Πυλάδη, τί λέξω; ποῦ ποτ᾽ ὄνθ᾽ ηὑρήμεθα; 


ΙΦΙΓΕΝΕΊΙΑ. 


ἢ σοῖς ἀραία δώμασιν γενήσομαι, 
᾿Ορέσθ᾽, ---ἰν᾿ αὖθις ὄνομα δὶς κλύων μάθῃς. 


ΟΡΕΣΤΗΣ. 


ὦ θεοί. 


ΙΦΙΓΕΝΕΊΙΑ. 


780 


773. ἥδ᾽ ἣν ὁρᾷς σύ: sc. ἔστ᾽ ἐκείνη. 
Cf. ὅδ᾽ εἴμ᾽ ἐγώ σοι κεῖνος Soph. Phil. 
261. --- λόγοις ἔκπλησσέ με: be dis- 
turbing me with interruptions ; cf. ν. 240. 

774. κόμισαί pe: take me home; cf. 
v. 1362. 

776. ἐφ᾽ οἷσι κτλ.: wherein I hold 
the office of leading guests to slaughter ; 
cf. vs. 53, 748. 

777. τί λέξω: Orestes exclaims to 
this effect, because the words of Iphi- 
genia appear to be addressed directly 
to him where he stands. — ποῦ ποτέ 
KTA.: where in the world are we  --- ὄντε: 
supplementary participle with ηὑρή- 
μεθα, Which is best omitted in trans- 
lating. 


’ Ν \ 5» A 3 -ὉὉἍ 5 A 
τι TOVS θεοὺς ἀνακαλεῖς εν τοις εμοις ; 


778. Or I shall prove a source of 
curses to thy house. —dpata δώμασιν : 
alluding to the influence of the venge- 
ful, haunting spirit (ἀλάστωρ) of a 
wronged person. Cf. καὶ cots ἀραία γ᾽ 
οὖσα τυγχάνω δόμοις Med. 608, μενῶ σ᾽ 
ἐγὼ | καὶ νέρθεν dy ἀραῖος εἰσαεὶ βαρύς 
Soph. Trach. 1201, τίς ἂν γονὰν ἀραῖον 
ἐκβάλοι δόμων; Aesch. Ag. 1565. 

779. ᾿Ορέσθ᾽ : ᾽Ορέστα. ---ἵνα. . . 
μάθῃς : still addressedto Pylades, but 
not forming a part of the letter. 

780. Cf. Φ. ὦ θεοί. N. τί τοὺς θεοὺς 
ἀναστένων καλεῖς; Soph. Phil. 186. --- 
θεοί, θεούς : pronounced as monosyl- 
lables. —év τοῖς ἐμοῖς : in affairs of 
mine, “that do not concern yourself.” 








IPHIGENIA AMONG THE TAURIANS. 


125 


OPESTHS. 


οὐδέν - πέραινε δ᾽. ἐξέβην yap ἄλλοσε. 


IPITENEIA. 


ΚΟΤΕ, > 5 A 3 > » Oy 
τάχ οὖν ἐρωτῶν σ᾽ εἰς απιστ᾽ ἀφίξεται. ---- 


λέγ᾽ οὕνεκ᾽ ἔλαφον ἀντιδοῦσά μου θεὰ 


¥ » ΄, 39. Τῷ "» 9) Har oN , 
Ἄρτεμις ἔσωσέ μ᾽, ἣν ἔθυσ᾽ ἐμὸς πατήρ, 


785 


δοκῶν ἐς ἡμᾶς ὀξὺ φάσγανον βαλεῖν, 


> » 5 > Ὁ 
εἰς τήνδε δ᾽ ᾧκισ᾽ aiav.— ald ἐπιστολαί, 


ANG 3 Ν 5 , 5 ’ 
τάδ εστι ταν δέλτοισιν εγγέεγράμμενα. 


ΠΥΛΑΔΗΣ. 


x ε ΄ Ψ ΤΗΣ ΤῊ 
ὦ ῥᾳδίοις ὅρκοισι περιβαλοῦσά με, 


4 > 5 / > 5 Ν / ie 
κάλλιστα δ᾽ ὀμόσασ᾽, οὐ πολὺν σχήσω χρόνον, 


790 


\ 5 9 ἃ ΄ 5 > ΄ 
τὸν ὃ ορκον OV κατωμοσ ἐμπεδώσομεν. 


ἰδού, φέρω σοι δέλτον ἀποδίδωμί τε, 


Ὀρέστα, τῆσδε σῆς κασιγνήτης πάρα. 


781. οὐδέν: evasive, like οὐκ οἶδα 
v. δ40. --- ἐξέβην γὰρ ἄλλοσε: “my 
thoughts were elsewhere.” Cf. rot ror’ 
ἐξέβης λόγῳ; (“ Whither are your 
words wandering 1.) Soph. PAil. 896. 

782. Questioning you, perchance, he 
will come to things scarce credible. Ores- 
tes will want to know hoéw the dead 
has come to life again (κατθανοῦσ᾽ 
ἥκει πάλιν), and here, Iphigenia says, 
is the miracle that explains it all (vs. 
783-786).—amora: cf. vs. 642, 796. 

783-786. οὕνεκα: 
for its antecedent not the nearest 
word, but the prominent word of the 
preceding clause, viz. ἔλαφον. --- δο- 
κῶν... βαλεῖν: “fancying that he 
drove the keen blade into me.” For 
the aor. inf.,see on ἔδοξα... εἰσιδεῖν v. 
44͵ -- αἴδ᾽ ἐπιστολαί : this is the mes- 


sage. 


671. — ἥν : has 


788-790. &... ὀμόσασα : “O thou 
layer of an easy oath on me, and 
happy in that which thou thyself 
hast sworn!” The elegant construc- 
tion of the voc. participle is much 
affected in the iambic trimeter; cf. 
vs. 17, 709 f., 800 f., 836. Its range 
is of course very limited in Eng- 
lish; ef. “Ὁ snatch’d away in beauty’s 
bloom! | On thee shall press no 
ponderous tomb.’ — Pylades, who of- 
fered the encouraging maxim λίαν 
διδοῦσα μεταβολὰς κτλ. Vv. 722, has 
held his tongue during the revela- 
tion made in ys. 769-787, —-repiBa- 
λοῦσα: περιβαλεῖν, here figuratively ; 
literally, vs. 796, 709. — κάλλιστα: 
καλλίστους ὕρκους. --τ σχήσω: ἐπισχήσω. 
- ἐμπεδώσομεν : will make good; ef. 
ἔμπεδον ν. 758. For the shift to the 
plural, see on ys. 348 f. 


ΕΥΡΙΠΙΔΟΥ I®IVENEIA. 


OPESTHS. 


δέχομαι: παρεὶς δὲ γραμμάτων διαπτυχάς, 


τὴν ἡδονὴν πρῶτ᾽ οὐ λόγοις αἱρήσομαι. 


795 


ὦ φιλτάτη μοι σύγγον᾽, ἐκπεπληγμένος 


ν 3 5 / \ 4 
OM@S 0 ἀπιστῳ περιβαλὼν βραχίονι 


> , > ΄, ΄ 4. , 
els τέρψιν εἶμι, πυθόμενος θαυμάστ᾽ ἐμοί. 


ΧΟΡΟΣ. 


ΓΝ Ὁ) > , - fal \ ΄ 
ξεῖν᾽, ου δικαίως ΤῊ ς θεοῦ ΤῊΝ πρόσπολον 


χραίνεις ἀθίκτοις περιβαλὼν πέπλοις χέρα. 


ΟΡΕΣΤΗΣ. 


800 


ὦ συγκασιγνήτη τε κἀκ ταὐτοῦ πατρὸς 


᾿Αγαμέμνονος γεγῶσα, μή μ᾽ ἀποστρέφου, 
» > LO / > la) > ν ’, 
ἔχουσ᾽ ἀδελφόν, οὐ δοκοῦσ᾽ ἕξειν ποτέ. 


ΙΦΙΓΕΝΕΊΑ. 


> , > 5 \ Ων 5 ’, > , 7 
ἐγώ σ ἀδελφὸν τὸν ἐμόν; οὐ παύσει λέγων; 


τὸ δ᾽ ἼΑργος αὐτοῦ μεστὸν 7 τε Ναυπλία: 


793 f. δέχομαι: gracious accept- 
ance (‘Thank you’); cf. πρόφρων δέ- 
xouat Hom. Ψ 647.—-rapelc .. . δια- 
πτυχάς : letting folded letters go. As he 
speaks, Orestes throws down the letter 
and advances toward the priestess to 
enfold her.—-ypappdrwy διαπτυχᾶς: 
merely a periphrasis for γράμματα, 
δέλτον, as in v. 727. — πρῶτα : as if he 
meant to read the letter afterwards. 
—ov λόγοις: not in words (i.e. but 
by deeds), said in opposition to ypayu- 
μάτων. 

195 f. ἐκπεπληγμένος : astonished 
though I αἀπι. --- ἀπίστῳ βραχίονι: is 
good ! 

The symmetry in vs. 7853-797 de- 
serves notice, five lines to each of the 
three persons. 


798 f. See on vs. 340 f. It is the 
chorus’ part in tragedy to uphold 
propriety of every sort, and to intcr- 
pose in its behalf. Here even sanctity 
is invaded —a priestess of Artemis! 
-- περιβαλὼν πέπλοις χέρα: obs. the 
different const. with περιβαλεῖν in vs. 
788, 796. 

801. μή μ᾽ ἀποστρέφου: said as the 
priestess repels him with dignity. 

803. éyw oe... τὸν ἐμόν: sc. ἔχω; 
You my brother! If the two Greeks 
had not been Orestes and Pylades, 
they could hardly have played a bet- 
ter game than the one they are play- 
ing now, and Iphigenia was not the 
woman to be cozened by adventurers. 

804. αὐτοῦ μεστόν : full of him; 1.6. 
he is πανταχοῦ in Argos (vy 568). Cf 





IPHIGENIA AMONG THE TAURIANS. 


127 


ΟΡΕΣΤΗΣ. 


᾿ > »¥ ΠΕ ΤΑΝ οἱ ΄ > , , 
805 οὐκ ἐστ ἐκεῖ σός, ὦ τάλαινα, σύγγονος. 


IPITENEIA. 


ἀλλ᾽ ἢ Λάκαινα Tuvdapis σ᾽ ἐγείνατο; 


ΟΡΕΣΤΗΣ. 


“Πέλοπος γε παιδὶ παιδός, οὗ ᾿κπέφυκ᾽ ἐγώ. 


IPITENEIA. 


’ 4 3» “ , , 
τί φής; ἔχεις TL τῶνδέ μοι τεκμήριον; 


ΟΡΕΣΤΗΣ. 


ἔνω: πατρῴων ἐκ do θά 
ἔχω ρῴ ὄμων τι πυνθάνου. 


ΙΦΙΓΕΝΕΙΑ. 


810 οὐκοῦν λέγειν μὲν χρὴ σέ, μανθάνειν δ᾽ ἐμέ. 


ΟΡΕΣΤΗΣ. 


λέγοιμ᾽ ἂν akon πρῶτον Ἠλέκτρας τάδε: 


γ. 324, where φύγῃ ἐξεπίμπλαμεν 
νάπας points not so much to the num- 
bers of the fugitives as to their scat- 
tering in every direction. Similarly, 
πανταχῇ yap ἄστεως | (ζητῶν νιν ἐξέ- 
mAnaalon 1107. 80 οἵ Helen, πλ ή- 
σασα κλιμακτῆρας εὐσφύρου ποδός Hel. 
1570 (not a reflection upon the size of 
her foot, but she was seen to step on 
every round of the ladder). Demos- 
thenes says of the traitors of his time: 
εἶτ᾽ ἐλαυνομένων καὶ ὑβριζομένων καὶ 
τί κακῶν οὐχὶ πασχόντων, πᾶσ᾽ 7 οἰκου- 
μένη μεστὴ γέγονεν xvili.48. There 
were plenty of them, to be sure, but 
the point is that they were οὐδαμοῦ 
kal πανταχοῦ. --- Ναυπλία: the port 
of Argos, here named only to expand 
the idea of wandering from place to 
place. 

806 f. For the persons meant, cf. 
vs. 5-5.— ἀλλ᾽ ἦ : much the same in 


effect as ἦ καί ν. 741]. --- οὗ ἐκπέφυκ᾽ 
ἐγώ: whose child am I. More explicit 
than simply παῖδα (Πέλοπος παιδὶ παι- 
δὺς παῖδά μ᾽ ἐγείνατο) would have been. 

808-826. The recognition of Ores- 
tes by Iphigenia is effected by means 
of tokens (τεκμήρια), a method treated 
by Aristotle as inferior in artistic 
merit to that of the primary ava- 
γνώρισις of this play (the recognition ° 
of Iphigenia by Orestes), which is 
spontaneously produced by the action 
of the. drama. Arist. Poet. xvi. 

810. “Rather should you relate, 
that I may learn.” Iphigenia does 
not care to ask any ‘leading questions.’ 

811 f. The distich marks the shift 
from one person to the other as ques- 
tioner.—A€youy’ av: adapted to λέγειν 
v. 810, -- ἀκοῇ ᾿Ηλέκτρας: “what I 
know by hearsay from Electra.” Op- 
posed to ἃ δ᾽ εἶδον ards ν. 822. 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


3 ld , 5 > ΄ ΕἾ 
Ατρέως Θυέστου τ οἶσθα γενομεέενὴν εριν; 


IPITENEIA. 


ἤκουσα, χρυσῆς ἀρνὸς ἡνίκ᾽ ἢν πέρι. 


ΟΡΕΣΤΗΣ. 


A 3 > ε , > > 5 5 5 ΄,ὔἹ ε A 
ταῦτ οὖν ὑφήνασ᾽ οἶσθ᾽ ἐν εὐπήνοις ὑφαῖς; 


ΙΦΙΓΕΝΕΙΑ. 


815 


> , > > \ A » κα , A 
ὦ φίλτατ᾽, ἐγγὺς τῶν ἐμῶν κάμπτεις φρενῶν. 


ΟΡΕΣΤΗΣ. 


> , > 5 ε (αἱ ε ’ὔ ’ὔ 
εἰκώ T ἐν LoTOLS ἡλίου μετάστασιν; 


ΙΦΙΓΕΝΕΙΑ. 


ὕφηνα καὶ τόδ᾽ εἶδος εὐμίτοις πλοκαῖς. 


ΟΡΕΣΤΗΣ. 


καὶ λούτρ᾽ ἐς Αὖλιν μητρὸς ἁδέξω πάρα; 


812 f. For the story, see on vs. 
191 ff. —’Arpéws Θυέστου τ᾽ : between 
Atreus and Thyestes.—yxovoa: cor- 
rects οἶσθα. ‘The Greeks were rather 
disposed to insist on this distinction. 
See above on ἀκοῇ v. 811. Cf. ἐνθυμη- 
τέον kal Tap ἄλλων ἀκούουσι καὶ 
τοῖς εἰδόσιν αὐτοῖς ἀναμιμνησκο- 
μένοις Dem. iv. 9, ᾿Αρχέλαον δήπου 
τοῦτον τὸν Περδίκκου ὁρᾷς ἄρχοντα 
Μακεδονίας ; SO. εἰ δὲ μή, ἀλλ᾽ ἀκούω 
γε Plat. Gorg. 470d (playful answer 
of Socrates to the colloquial ὁρᾷς; of 
Polus). —7vlk’ ἦν : namely, when they 
had it; explanatory of γενομένην. 

814. ὑφήνασα οἶσθα: do you remem- 
ber weaving? Iphigenia had taken 
the history of the golden lamb as the 
design for a fine piece of work at the 
loom ; cf. the allusion in vs. 223 ff. 

815. ἐγγὺς... φρενῶν: there you 


graze my thoughts. — κάμπτεις : a meta- 
phor from the hazardous and critica} 
moment of turning the post in the hip- 
podrome; the exclamation ὦ φίλτατε 
marks the closeness of the turn. 

816 f. elke ἡλίου μετάστασιν : a pict- 
ure of the retreating sun. εἰκώ is predica- 
tive, μετάστασιν the obj. of ὑφήνασα v. 
814.—edplrois πλοκαῖς : μίτος (warp), 
πλέκειν. Cf. εὐπήνοις ὑφαῖς vs. 814, 312, 
1465, πήνη (woof, Πηνελόπη), ὑφαίνειν. 
With such poetic phrases Euripides, 
an admirer of all manual art, essays 
to match the deftness of woven work 
itself. 

818. λουτρά: sc. οἶσθα. --- ἀδέξω: ἃ 
ἐδέξω. The water for the nuptial 
bath must be drawn from the local 
fountain consecrated to that purpose; 
hence a portion was taken from Argos 
to Aulis. 








IPHIGENIA AMONG THE TAURIANS. 


129 


ἸΦΙΓΈΝΕΙΑ. 


οἶδ᾽ - οὐ γὰρ ὁ γάμος ἐσθλὸς ὦν μ᾽ ἀφείλετο. 


OPESTHS. 
820 J » Ἄ ’ ἣν A ὃ wn »“» , τ 
τὶ γάρ; κόμας σὰς μητρὶ δοῦσα σῇ φέρειν; 
ἸΦΙΓΈΝΕΙΑ. 
A? Je 9 \ , 3 2 ΄ 
μνημεῖα γ᾽ ἀντὶ σώματος τοὐμοῦ τάφῳ. 
ΟΡΕΣΤΗΣ. 
a 3 > 
ἃ δ᾽ εἶδον αὐτός, τάδε φράσω τεκμήρια. 
Πέλοπος παλαιὰν ἐν δόμοις λόγχην πατρός, 
ἣν χερσὶ πάλλων παρθένον Πισάτιδα 
825 ἐκτήσαθ᾽ Ἱπποδάμειαν, Οἰνόμαον κτανών, 


ἐν παρθενῶσι τοῖσι σοῖς κεκρυμμένην. 


IPITENEIA. 


ὦ φίλτατ᾽, οὐδὲν ἄλλο, φίλτατος yap εἶ, 


ἣν 5» > / / 
ἔχω σ΄, Ὁρέστα, τηλύγετον 


819. ἀφείλετο: sc. τοῦτο τὺ μὴ εἰδέ- 
ναι. “The marriage was not handsome 
enough to cause me to forget the cir- 
cumstance.” Cf. v. 539. 

820. κόμας ods: a lock of your hair. 
-- μητρί: const. with φέρειν. --- δοῦσα: 
sc. οἶσθα; the same construction as 
ὑφήνασ᾽ οἶσθα v. 814. 

821. Yes, a memento for the grave 
instead of my remains. Cf. μνημεῖα 
θ᾽ αὑτῶν τοῖς τεκοῦσιν és Sdyous | 
πρὸς ἅρμ᾽ ᾿Αδράστου χερσὶν ἔστεφον 
Aesch. Sept.49;hune tamen, orba 
parens, crinem (dextraque se- 
candum | praebuit), hune toto 
capies pro corpore crinem|... 
huic dabis exequias Statius Theb. 
ix. 900. 

823 f. Notice the alliteration (7), 
and cf. vs. 807, 876. 

824 f. The weapon he wielded when 


he won the maid of Pisa. See on 
WS 11. 1: 

826. The lance, as an heirloom or 
‘transmittendum,’ was preserved 
in a part of the palace where no man, 
not a member of the family, would 
have seen it or have been likely to 
hear about it. Iphigenia asks for no 
further proofs, and the ἀναγνώρισις 


is complete. 


(Song from the Stage.) 


827-899. For the metres, see p. 51. 

828-830. ἔχω oe: brother and sis- 
ter embrace. (ΟἿ ἐκ χερῶν v. 843, ἔχω 
σε χερσίν; Soph. 1]. 1226 (said by 
Electra to Orestes, when finally recog- 
nized, as here); tenedne te, | Anti- 
phila, maxume dnimo exopta- 
tim meo? Ter. Heaut, ii. 4 fin. — 


τηλύγετον : Homeric reminiscence. 


190 ΕΥ̓ΡΙΠΊΔΟΥ ΙΦΙΓΕΝΕΙΑ. 


Ἂν 4 
χθονὸς ἀπὸ πατρίδος 


880 ᾿Αργόθεν, ὦ φίλος. 


ΟΡΕΣΤΗΣ. 


κἀγώ σε τὴν θανοῦσαν, ὡς δοξάζεται. 


ΝΥ A Pr 5 > / \ , 9 A 
κατα δὲ δάκρυ ἀδάκρνα, κατα γόος αμα χαρᾳ 


τὸ σὸν νοτίζει βλέφαρον, ὡσαύτως δ᾽ ἐμόν. 


IPITENEIA. Ὁ 


835 


τὸν ἔτι βρέφος ἔλιπον ἔλιπον ἀγκάλαισι νεαρὸν 


wn Ν 5 δό 
τροφοῦ νεαρὸν ἐν δόμοις. 


> a BY ΄ \ 3 οἱ 
ω Κρεισσον Ἢ λόγοισι θυμὸς ευτύχων, 


, qn , , Ν 7) 
τί φῶ; θαυμάτων πέρα καὶ λόγου 


840 πρόσω τάδ᾽ ἐπέβα. 


ΟΡΕΣΤῊΣ. 


τὸ λοιπὸν εὐτυχοῖμεν ἀλλήλων μέτα. 


IPITENEIA. 


ἄτοπον ἁδονὰν ἔλαβον, ὦ φίλαι: 


Orestes was the ‘dearly beloved’ son. 
τίσω δέ μιν ἶσον Opectn, | ὅς mor τηλύ- 
γετος τρέφεται θαλίῃ ἐνὶ πολλῇ I 142, 
said by Agamemnon. The Homeric 
word unquestionably conveyed to 
Euripides merely the sense given 
above, in harmony with the key-note 
of the present passage (φίλτατε, φίλ- 
τατος, φίλος). It has reasonably been 
thought that some word or words, 
such as μολόντα, may have fallen out 
of the text after τηλύγετον. 

831. κἀγώ σε: sc. ἔχω. 

832. An iambic trimeter resolved 
to its utmost capacity of short sylla- 
bles, viz. fifteen in the first five feet. 
In tragedy this only oceurs in melic 
trimeters. Cf. the similar treatment 
of the anapaestic rhythm in vs. 231 f. 
-- κατὰ... κατά: anaphora. Const. 


the prep. adverbially with νοτίζει v. 
854 (‘tmesis’).—8aKxpy’ ἀδάκρνα : tears 
that are no tears; explained by γόος 
ἅμα χαρᾷ. 

835. τον: 
with vs. 828 ff. 

837-840. κρεῖσσον ἢ Adyourw ev- 
τυχῶν: far happier than words can tell. 
Cf. κρείσσον᾽ ἢ λέξαι λόγῳ | τολμήματα 
Suppl. 844, The same thought is re- 
peated in λόγου πρόσω (past expres- 
sion).—eéméBa: befell; sc. μοι. The 
aor. refers to the moment of recogni- 
tion; so ἔλαβον v. 842. 

841. ( ὡς τὰ λοίπ᾽ ἔχοις Gel Soph. 
11. 1220, said by Orestes in response to 
ἔχω σε χερσίν: ; — εὐτυχοῖμεν : adapted 
ἴο εὐτυχῶν ν. 858. 

842-844. ἄτοπον ἁδονᾶν : inconceiu- 
able «οἰϊφῆί. ----ὦ φίλαν: addressed to 


ὅν, closely connected 





IPHIGENIA AMONG ‘HE TAURIANS. 


131 


᾿ δέδοικα δ᾽ ἐκ χερῶν με μὴ πρὸς αἰθέρα 


ἀμπτάμενος φύγῃ. 


845 ὦ Κυκλωπίδες ἑστίαι, ὦ πατρίς, 


Μυκήνα φίλα, 


χάριν ἔχω ζόας, χάριν ἔχω τροφᾶς, 


“ 
ὅτι μοι συνομαίμονα 


τόνδε δόμοισιν ἐξεθρέψω φάος. 


OPESTHS. 


850 γένει μὲν εὐτυχοῦμεν, εἰς δὲ συμφοράς, 
ὦ σύγγον᾽, ἡμῶν δυστυχὴς ἔφυ βίος. 


ΙΦΙΓΕΝΕΙΑ. 


ἐγὼ μέλεος οἶδ᾽, 010 ὅτε φάσγανον 


δέρᾳ θῆκέ μοι μελεόφρων πατήρ, 


the chorus. — μή pe... ἀναπτάμενος 
φύγῃ: sc. ὅδε. The conceit is Euripi- 
dean; hence the parody: ὃ δ᾽ ἀνέπτατ᾽ 
ἀνέπτατ᾽ és αἰθέρα κουφοτάταις πτερύγων 
ἀκμαῖς Ar. Ran. 1352 (supposed to be 
sung by a woman who had lost her 
rooster). 

845 f. Ἰζυκλωπίδες ἑστίαι : the mas- 
sive archaic stone-work at Mycenae 
was attributed to the Cyclopes; cf. 
Muknvaiat 7 ἐμαὶ θέραπναι. | X. κα- 
λεῖς πόλισμα Περσέως, Κυκλωπίων 
“ὄνον χερῶν Iph, Aul. 1499. Hence 
the epithet ‘Cyclopean’ is constantly 
applied to the city. —Muxyva: col- 
lateral poetic form for Μυκῆναι, like 
Θήβη beside Θῆβαι, ete. 

847. The anaphora and the homoeo- 
teleuton ((éas . . . τροφῖς) produce 
a good effect in dochmiac dimeter 
verses; cf. v. 835 (veapby .. . veapdrv), 
ἐπίλυσιν φόβων ἐπίλυσιν δίδου Aesch. 
Sept. 133, «vere παρθένων κλύετε παν- 
δίκως ib. 172. So in the ‘Horatian’ 


stanza: eg. quae cura patrum, 
quaeve Quiritium Carm, iv. 14. 2. 
— χάριν ἔχω: grateful am I. 

848 f. pot: dat. cf interest, to be 
construed with the clause. — δόμοι- 
ow: const. with «aos (pred. nom.). 
Cf. the quotation below in this note, 
and see on ν. 187. --- ὅτι ἐξεθρέψω : 
expansion of τροφῶς (and (das) ν. 847. 
The mid. is appropriate ; see H. 815. 
The active would have been said of 
the mother; cf. ἔθρεψας Ἑλλάδι μέγα 
φάος Iph. Aul. 1502, addressed to Cly- 
taemnestra by Iphigenia. 

850f. γένει: by birth. Suggested by 
the mention of their native city in vs. 
845 f. — ἔφυ : ἐστί. 

852 f. Iphigenia oscillates from one 
extreme of feeling to the other under 
the influence of Orestes’ words. For 
the reminiscence here, cf. v. 361. — 
οἶδ᾽ ὅτε: ch ν. 813 (ἡνίκα), and see 
GMT. 913. —OfKe: ἐπέθηκε. --- pedrco- 
φρων : matching μέλεος. 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTHS. 


» an Ν > , > ε “A > A 
855 οιμοι" δοκῶ γάρ ου TAP@V σ Opav E€KEL. 


IPITENEIA. 


ἀνυμέναιος, ὦ σύγγον᾽, ᾿Αχιλλέως 


εἰς κλισίαν λέκτρων δόλι᾽ ὅτ᾽ ἀγόμαν. 


860 


Ν \ Ν ὯΝ , Ν ΄ 
παρὰ δὲ βωμὸν ἦν δάκρυα καὶ γόοι" 


φεῦ φεῦ χερνίβων τῶν ἐκεῖ. 


ΟΡΕΣΤΗΣ. 


ᾧμωξα κἀγὼ τόλμαν ἣν ἔτλη πατήρ. 


IPITENEIA. 


865 
λων κυρεῖ. 


5 ΄ὕ > 5 , , » 
aTaTOP απάτορα TOT [LOV ehayov. 


ἄλλα © εξ ai. 


OPESTHS. 


εἰ σόν γ᾽ ἀδελφόν, ὦ τάλαιν᾽, ἀπώλεσας. 


IPITENEIA. 


δαίμονος τύχᾳ τινός. 


856-860. ἀνυμέναιος : a similar 
thought to νύμφαν δύσνυμφον v. 216. 
Instead of the nuptial hymn there 
was ‘weeping and wailing’ (δάκρυα καὶ 
γόοι). --- κλισίαν λέκτρων : periphrasis 
for λέκτρα (marriage) ; see on vs. 869— 
371 jin. — δόλια: adverbial; δόλῳ v. 
371.— ὅτ᾽ ἀγόμαν : ἠγόμην, carries on 
the const. 015° ὅτε v. 852. 

862. 7 too must cry out at the hard 
heart our father had.— dpota καὶ ἐγώ: 
refers to φεῦ φεῦ v. 861. 

865-868. ἀπάτορα πότμον: « fute 
unfatherly; adapted to πατήρ vy. 862. 
Cf. μήτηρ ἀμήτωρ Soph. ΕἸ. 1154, said 
of Clytaemnestra by Electra. For the 
repetition, ἀπάτορ᾽ ἀπάτορα, see on y. 


402.— adda... κυρεῖ: chances out of 
chances grow. Iphigenia means to say 
that the sacrifice at Aulis was to her 
the ‘direful spring’ of a whole series 
of ills. Orestes breaks in confirma- 
tively with a mention of the horror 
which both have just escaped so nar- 
rowly.— el σόν γ᾽ ἀδελφὸν κτλ.: Ay, 
if thine own brother thou hadst slain! — 
δαίμονος τύχᾳ τινός: Completes the 
remark ἄλλα δ᾽ ἐξ ἄλλων κυρεῖ, in con- 
sonance also with the exclamation of 
Orestes (ei . . . ἀπώλεσας), which is 
expanded in vs. 869-872. —tvxq: “by 
visitation,” as we should say. The 
religious view identifies human acci- 
dent and divine intent. This associa- 





IPHIGENIA AMONG THE TAURIANS. 


133 


> ~ 
ὦ μελέα Seivas τόλμας: δείν᾽ ἔτλαν, 


870 


39 » » ͵ Ν > 5 4 
δείν᾽ ἔτλαν, ὦμοι, σύγγονε, παρὰ δ᾽ ὀλίγον 


ἀπέφυγες ὄλεθρον ἀνόσιον ἐξ ἐμᾶν 


δαϊχθεὶς χερῶν. 


ε δ᾽ 5 > 5 lal ἊΣ , 
a ἐπ αὐτοῖς Tis τελευτά; 


τίς τύχα μοι συγκυρήσει; 


’ 
τίνα σοι πόρον εὑρομένα 


πάλιν ἀπὸ πόλεως, ἀπὸ φόνου πέμψω 


πατρίδ᾽ ἐς ᾿Αργείαν, 


Ν aN ξί ν “ 
πρὶν ἐπι ξίφος αἵματι σῷ 


πελάσσαι; τόδε σόν, ὦ μελέα ψυχά, 


χρέος ἀνευρίσκειν. 


πότερον κατὰ χέρσον, οὐχὶ ναΐ, 


ἀλλὰ ποδῶν ῥιπᾷ; 


θανάτῳ πελάσεις ἄρα, βάρβαρα φῦλα 


tion of ideas, though not peculiar to 
the ancients, is well illustrated by the 
frequent conjunction of θεός and τύχη 
in Greek. Cf. vs. 476-478, 909-911, 
ἐξεπλήσσου τῇ τύχῃ TH τῶν θεῶν 
Iph. Aul. 351 (of the ἄπλοια αἱ Au- 
lis), ἡ τύχη καὶ τὸ δαιμόνιον Dem. 
xiv. 96, 

᾽8609-899. Monody of Iphigenia. 

869 f. O wretched me in my fell 
hardihood! Hard, hard of heart was I, 
ete. — τόλμας : causal gen.; cf. vs. 647, 
847, 861. — δεινὰ ἔτλαν κτλ.: expands 
δεινᾶς τόλμας. Note τύλμα, τλῆναι, of 
involuntary endurance, at least so far 
as treatment of a brother is concerned. 
Differently v. 864 (ἔτλη πατήρ). 

873-899. By the thought of Ores- 
tes’ deliverance from death at the 
altar, the mind of Iphigenia is turned 
upon the danger that still besets 
him, and the difficulties to be met 
in escaping it, The monody thus 


prepares the way for the ensuing 
dialogue. 

873 f. What is the end ofall to be? 
What hap will luckily betide me?—a 
... τελευτά: for the arrangement, see 
on v.72 fin. —é€m αὐτοῖς : ἐπὶ τοῖς ἤδη 
γεγενημένοις. Cf. ἐπὶ τοῖσδε ν. 728.— 
συγκυρήσει: συντεύξεται, συμβήσεται. 

875 f. εὑρομένα: the mid. implies 
search or effort, but the act. ἀνευρί- 
oxew (vy. 883) has the same sense. 
— ἀπὸ πόλεως : ἀπὸ χθονός. Notice 
the alliteration (7). 

880 f. ἐπὶ... πελάσσαι : the subj. 
is ξίφος. Const. the prep. adverbially, 
cf. v. 832.— σὸν χρέος : σὸν &pyov. — 
ὦ ψυχά: cf. vs. 544, 837, 

884 f. πότερον KTA.: Sc. πέμψω σε; 
“Shall it be, etc.?” 

886 f. dpa: of course; intimating 
that the query just put must be an- 
swered negatively. — φῦλα καὶ δι 
ὁδούς : sce on ν, 298. 


134 


EYPITTIAOY I®ITENETA. 


\ 3) fe ‘ le ad , \ , \ 
και δι ὁδοὺς ἀνόδους στειχων" διὰ κνυανεας μὴν 


στενοπόρου πέτρας μακρὰ κέλευθα ναΐοισιν δρασμοῖς, 


890 
τάλαινα, τάλαινα. 
895 τίς ἂν οὖν τάδ᾽ ἂν 7 θεὸς ἢ βροτὸς ἢ 
τί τῶν ἀδοκήτων 
πόρον ἄπορον ἐξανύσας 
δυοῖν τοῖν μόνοιν ᾿Ατρείδαιν φανεῖ 
κακῶν ἔκλυσιν; 
ΧΟΡΟΣ. 
900 ἐν τοῖσι θαυμαστοῖσι καὶ μύθων πέρα 


AW) > aN > , 3 S45 oe 
TAO εἶδον αὐτὴ Kov κλύουσ᾽ ἀπ ἀγγέλων. 


ΠΥΛΑΔΗΣ. 


τὸ μὲν φίλους ἐλθόντας εἰς ὄψιν φίλων, 


᾿Ορέστα, χειρῶν περιβολὰς εἰκὸς λαβεῖν" 


889 f. διὰ κυανέας μὴν κτλ.: yet 
truly through the Cyanean Crag with 
narrow frith, long is the way for vessel’s 
Jlight. Escape by sea also seems im- 
possible to Iphigenia in her present 
state of mind, hence the following 
utterances of perplexity and distress. 
-- ναΐοισιν Spacpots: contrasted with 
ποδῶν ῥιπᾷ ν. 885. Both are highly 
poetical expressions (for the prosaic 
πεζῇ and θαλάσσῃ), and both are sug- 
gestive of swiftness. 

894 ff. “ Alas! who then herein, or 
god or mortal man, or what all-unex- 
pected thing, achieving a way impass- 
able, shall show, etc.2” Varts of the 
text are uncertain, and no precise in- 
terpretation can be given. — δυοῖν 
τοῖν povow ᾿Ατρείδαιν: viz. Orestes 
and Iphigenia. Electra is for the 
moment forgotten, just as Antigone 
under similar pressure ignores Ismene, 
and calls herself thy βασιλίδα μούνην 
λοιπήν Soph. Ant. 941. 


900 f. μύθων πέρα : cf θαυμάτων πέρα 
καὶ λόγου πρόσω Vv. 839.— εἶδον αὐτὴ 
κτλ: the current antithesis of eye- 
witness and hearsay; see on vs. 812 f. 

902-908. Pylades ‘calls time.’ 

902 f. τὸ μέν: the article has but 
loose grammatical connection; it 
serves chiefly to mass the concessive 
statement, preparatory to the anti- 
thetic λήξαντα δὲ κτλ. v. 904. —“It is, 
to be. sure, natural that dear ones 
should take to embracing, when dear 
ones they see again.” — φίλους... φί- 
λων : cf. v. 650. — εἰκός : the copula is 
oftener omitted than expressed with 
predicates denoting fitness, duty, etc., 
and their opposites; cf. δίκαιον v. 601, 
αἰσχρόν ν. 674, σὸν χρέος ν. 881, καλόν 
vs. 927, 1064, θέμις ν. 1035. It is reg- 
ularly omitted with χρεών, δέον, φροῦ- 
dos (vs. 154, 1294), the verbal in -réov 
(vs. 118,121); see H.611a. All such 
adjectives contain in themselves, more 
or less distinctly, the idea of a verb. 


IPHIGENIA AMONG THE TAURIANS. 


135 


λήξάντα δ᾽ οἴκτων κἀπ᾽ ἐκεῖν ἐλθεῖν χρεών, 


905 ὅπως τὸ κλεινὸν ὄνομα τῆς σωτηρίας 


λαβόντες ἐκ γῆς βησόμεσθα BapBapov. 
σοφῶν γὰρ͵ ἀνδρῶν ταῦτα, μὴ. κβάντας τύχης, 


Arn a Mf 
καιρὸν λαβόντας, 


ἡδονὰς ἄλλας λαβεῖν. 


ΟΡΕΣΤΗΣ. 


καλῶς ἔλεξας - τῇ τύχῃ δ᾽ οἶμαι μέλειν 
910 τοῦδε ξὺν ἡμῖν: ἢν δέ τις πρόθυμος ἢ, 
ΜΔ Ν A “a > 7) » 
σθένειν τὸ θεῖον μᾶλλον εἰκότως ἔχει. 


IPITENEIA. 


> ’, 3 5 , > 3 > 3 ’ , 
οὐδέν μ᾽ ἐπίσχει γ᾽ οὐδ᾽ ἀποστήσει λόγου, 


904-906. λήξαντα : sing., applying 
the admonition to Orestes only. — 
οἴκτων : οἶκτος (οἴ, οἴμοι) is strictly 
the audible demonstration of feel- 
ing; cf. ν. 147.— ἐκεῖνα : anticipating 
the clause ὅπως... βησόμεσθα, and 
emphatic as opp. to what precedes 
(vs. 902 f.).— ὅπως κτλ.: namely, the 
task of securing, etc. én’ ἐκεῖνα ἐλθεῖν 
implies effort; see G. 1372, H. 885.— 
κλεινὸν ὄνομα σωτηρίας : κλεινὴν σω- 
τηρίαν. Vhe periphrasis need not sug- 
gest any opposition between name 
and reality. Cf. «rf Cera πατήρν. 917, 
where somewhat of the notion of κλει- 
vés is conveyed, not ‘reputed’ as 
opposed to ‘true, 

907 f. ταῦτα: explained by what 
follows, like ἐκεῖνα ν. 904, but with- 
out the antithetic force indicated by 
that pronoun. — pa... λαβεῖν : const. 
the neg. with the whole combined 
thought. — καιρὸν λαβόντας: 
καιρὸν λάβωσιν, explanatory of τύχης 
and opp. to ἡδονὰς λαβεῖν. --- ἄλλας : 
i.e. foreign to the exigency of the cri- 
8is (ἔξω τοῦ καιροῦ, ἔξω τύχης). The 
idiomatic ἄλλας is due to the repeti- 


> 4 
ἐπὴν 


, 





tion λαβόντας ... λαβεῖν, notwithstand- 
ing the different shades of meaning 
‘get’ and ‘take. —‘“It beseems wise 
men not to desert Fortune and lose a 
precious moment, to take up with 
vain pleasures.” 

909-911. τῇ τύχῃ. . . ξὺν ἡμῖν : me- 
thinks Fortune has charge of this under- 
taking in company with ourselves. — 
τοῦδε: i.e. the task named in vs. 9Q5f. 
— qv δέ τις κτλ. : expands the thought 
Eby ἡμῖν. --- μᾶλλον : const. with σθέ: 
νειν. ‘he idea that divine providence 
is reénforced by human energy is the 
equivalent (though the converse in 
statement) of ‘Heaven helps those 
who help themselves.’ τῷ γὲρ πονοῦντι 
καὶ θεὺς συλλαμβάνει Frag. 435, fortes 
Fortuna adiuvat.—elkotws ἔχει: 
it is reasonable to suppose. 

Orestes has acquired improved views 
of τύχη and τὸ θεῖον since vs. 570 ff. 

912-914. The lines are transitional, 
Iphigenia, who may be supposed to 
know best how much time there is to 
spare, insists on further satisfying 
her curiosity before proceeding to 


business. ‘Thus narrative matter of 


156 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENETA. 


wn “4 7 ἘΞ, Ψ, fe ° 
πρῶτον πυθέσθαι τίνα ποτ᾽ ᾿Ηλέκτρα πότμον 
¥ , ͵ὕ Ν ΕΣ ΄ὔ 5 5 , 
εἴληχε βιότου: φίλα yap ἔσται πάντ᾽ ἐμοί. 


ΟΡΕΣΤΗΣ. 


““ “ ᾽ὕ ,᾿ > 5» 7 
915 τῴδε ξυνοικεῖ βίον ἔχουσ᾽ εὐδαίμονα. 


IPITENEIA. 


ἣν δὲ Ν Ν , ΄ A 
OUTOS € ποδαπὸς και τινος πέφυκε παις; 


OPESTHS. 


Στρόφιος ὁ Φωκεὺς τοῦδε κλήζεται πατήρ. 


ΙΦΙΓΕΈΝΕΙΑ. 


ἃ 5 5 ’ Ψ 53 - / c Ν 5 4 
ὃ δ᾽ ἐστί y Ατρέως θυγατρός, ομογενὴς ἐμος; 


ΟΡΕΣΤΗΣ. 


ἀνεψιός γε, μόνος ἐμοὶ σαφὴς φίλος. 


ΙΦΙΓΕΝΕΙΑ. 


3 > “2» a Ψ \ » , 
920 οὐκ ἫΝ τόθ OUTOS OTE ΠΑΤΉΡ EKTELVE με. 


OPESTHS. 


> > , Ν κ᾿ ΄, > 3, , 
OUK nv" XPovov yap Στρόφιος HV απαις τινα. 


an interesting sort, with facts that 
Iphigenia must learn before she 
can assist her friends intelligently, 
is brought into the epeisodion in 
advance of the BovAevois or plot for 
escape. — οὐδὲν... ἀποστήσει: there 
is certainly nothing to hinder, and noth- 
ing shall put me off. —Xeyou: from my 
purpose of ascertaining; see ony. 578. 
- πρῶτον: first of all; 1.6. before at- 
tending to the pressing matter of 
which Orestes and Pylades have just 
ΒΡΟΚΘΗ. --- πυθέσθαι: explanatory of 
λόγου. The inf. after a verb of hin- 
drance is the counterpart of a gen. 
of separation. — ἔσται : against ‘Por- 
son’s rule, but the future suits the 


sense much better than ἐστί would; 
see on vy. ὅ80. --- πάντα: 1.6. “every- 
thing that I can learn about her.” 
915. τῴδε ξυνοικεῖ: “his wife she 
916-919. otros: deictic exactly 
like ὅδε. Cf. vs. 595 with 598, 600 
with 601.—o Φωκεύς : contains the 
answer to ποδαπός:;-- κλήζεται: see 
on y. 905 fin. —éort ye: is really? — 
θυγατρός: 1.6. Anaxibia, sister of Aga- 
memnon. — ἀνεψιός ye: γέ with refer- 
ence to ὁμογενής. See on vy. 510. 

920 f. It is here seen why the 
name of Pylades conveyed no signifi- 
cance to Iphigenia, when reported to 
her early in the play. — ἔκτεινε : impf. 


is 


925 





IPHIGENIA AMONG THE TAURIANS. 


137 


ἸΦΙΓΈΝΕΙΑ. 
A> > ΄ a Sia es ε ΄ 
Xap ὦ πόσις μοι τῆς ἐμῆς ὁμοσπόρου. 
OPESTHS. 
5 fd , > A Ν , 

κἀμός YE σωτήρ, οὐχὶ συγγενὴς μόνον. 
ISITENEIA. 

~~ ὃ Ν δ᾽ » “ » Ν , 

τὰ δεινὰ ἔργα πῶς ἔτλης μητρὸς πέρι; 
OPESTHS. 

A , τς - an 

σιγῶμεν avTa: πατρὶ τιμωρῶν ἐμῷ. 
ΙΦΙΓΕΝΕΊΑ. 

- » 5 vA , 5 » 9 , , 

ἢ δ᾽ αἰτία τίς ἀνθ᾽ ὅτου κτείνει πόσιν; 
ΟΡΕΣΤΗΣ. 

yy Ἂν id 5» Ἂς \ , 

ἔα τὰ μητρός: οὐδὲ σοὶ κλυειν καλόν. 
ἸΦΙΓΈΝΕΙΑ. 

na St ἢ an 

σιγῶ" τὸ ὃ Apyos πρὸς σὲ νῦν ἀποβλέπει; 

OPESTHS. 
» 
Μενέλαος ἄρχει" φυγάδες ἐσμὲν ἐκ πάτρας. 


IPITENEIA. 


930 ov που νοσοῦντας θεῖος ὕβρισεν δόμους; 


922. χαῖρε... μοι: the ethical dat. 
often occurs thus with χαίρειν. Cf, 
χαῖρε πολλά μοι, πάτερ Hipp. 1453, 
χαίρουσά μοι (“ With farewell from 
me!”) εἰν "Alda δόμοισιν | τὸν ἀνάλιον 
οἶκον οἰκετεύοις Alc. 436. 

The stichomythic form is not favor- 
able to the amenities of an ‘introduc- 
tion’; but Pylades, if not at liberty 
to speak, could at least make his bow. 

924. But how did you bring yourself 
to that dreadful work, εἴα.  ---- τὰ δεινά: 
for the article, see on v. 320. 


925-927. σιγῶμεν αὐτά: let us say 
nothing about it.—av ὅτου: where- 
fore (causa quamobrem).: In this 
conjunctional phrase no account is 
ever taken of the gender of the ante- 
cedent noun. —€a: /eave the subject 
alone. — οὐδὲ καλόν : besides, it is not 
Jine ; i.e. besides being an unpleasant 
subject for Orestes to speak of. 

928-930. πρὸς σὲ ἀποβλέπει : looks 
to you? Ie. for protection and govern- 
ment, as to its hereditary sovereign. 
-- φυγάδες : pl. for sing. Said by 


138 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


OPESTHS. 


οὔκ, ἀλλ᾽ ᾿Βρινύων δεῖμά μ᾽ ἐκβάλλει χθονός. 


IPITENEIA. 


ANS) ΜΝ 5 Suis 5 lal 5 759 » , , 
ταῦτ᾽ ap ἐπ᾽ ἀκταῖς κἀνθάδ᾽ ἠγγέλθης paveis ; 


ΟΡΕΣΤΗῊΣ. 


ὦφθημεν οὐ νῦν πρῶτον ὄντες ἀθλιοι. 


IPITENEIA. 


»Ἄ , 5 ν 5 > καὶ , 
ἔγνωκα" μητρός σ᾽ εἵνεκ᾽ ἡλάστρουν θεαί. 


ΟΡΕΣΤῊΣ. 


935 


i > e ‘\ ’ 5 3) A 3 ld 
ὥσθ᾽ aipatnpa στόμι᾽ ἐπεμβαλεῖν ἐμοί. 


IPITENEIA. 


τί γάρ ποτ᾽ εἰς γῆν τήνδ᾽ ἐπόρθμευσας πόδα; 


ΟΡΕΣΤΗΣ. 


Φοίβου κελευσθεὶς θεσφάτοις ἀφικόμην. 


Orestes with reference to the Furies, 
but naturally understood by Iphigenia 
in the civil (political) sense; cf: v. 
512. Hence her surprised question οὔ 
mou κτλ. It surely cannot be that your 
uncle took a base advantage of the family 
troubles? Sc. to usurp the preroga- 
tive (τυραννίδος χάριν ν. 081). Orestes 
had only meant to say that Menelaus 
was acting as regent (pending an ac- 
tion ide lunatico inquirendo, as 
we should be inclined to term it). 

931. ᾿Εἰρινύων : trisyllabic in recit- 
ing; as also in v. 970. 

932, That explains, then, how you 
came to be reported as attacked by mad- 
ness on the shore here also? —tavra: see 
Η. 719 ὁ (last example).—dpa: ἄρα. --- 
καὶ ἐνθάδε : here as well as at Argos. 


933. This is not the first time my 
misery has been witnessed. 

935. The victim of the Furies is 
conceived as a steed urged by a 
cruel rider. —@ore: connects éreuBa- 
λεῖν immediately with ἠλάστρουν v. 
934. “Until the bit ran blood,” we 
should be apt to say. So Clytaem- 
nestra declares that Cassandra will 
never learn to mind the rein πρὶν ai- 
ματηρὺν ἐξαφρίζεσθαι μένος Aesch. Ag. 
1067. 

936. τί γάρ: but why? See on ν. 506, 
- ἐπόρθμευσας πόδα: cf. πορθμεύων 
ἴχνος V. 200. πορθμεύειν occurs, meta- 
phorically for the most part, also in 
vs. d71, 735, 1358, 1485, 1445; of a 
star Iph. Aul. 6; of the deus ex 
machina Andr. 1229. ἶ 


940 


ἠλαυνόμεσθα φυγάδες, 


945 ἔστιν γὰρ ὁσία ψῆφος, 


Ν ν > »» Ν 
Ζευς εἰσατ ἐκ του δὴ 


























999. Nay, I can relate it—and here 
you have the beginning of a long, sad tale. 
-- λέγοιμ᾽ ἄν: the reply to ῥητὸν ἢ 
σιγώμενον ; V. 998. --- αἵδε: explained 
by what follows (ἐπεὶ κτλ. v. 940). 
aide stands for τάδε by assimilation to 
the gender of the pred. ἀρχαί, cf. αἵδ᾽ 
ἐπιστολαί v. 786 (referring to what 
precedes), δικαστοῦ μὲν yop αὕτη (for 
τοῦτο) ἀρετή Plat. Apol. 18 a. 

941 f. els χεῖρας ἦλθε: hud been laid 
upon my hand; speaking of himself as 
a passive instrument of the divine de- 
cree. — ἠλαυνόμεσθα : obs. the change 
of tense from ἦλθε, and for the impf. 
with ἐπ εἰ, see on v. 261.— ἔνθεν : ἔπει- 
Ta, x τούτου, correl. to ἐπεί ν. 940. — 
ἔνθεν μοι πόδα: not subject to ‘ Por- 
son’s rule,’ since there can be no cae- 
sura before an enclitic. 

943. els tas ᾿Αθήνας δὴ ye: “to 
Athens at last!” Dwelling with force 
on the significant name of the city 
which afforded the first respite from 
suffering. — For the rare δή ye, ¢f. 
πάρεσμεν, οἵα δή γ᾽ ἐμοῦ παρουσία Her- 
acl, 632.—émeppe: guided my steps, 
viz. by means of the second oracle. 


IPHIGENIA AMONG THE TAURIANS. 


139 


ἸΦΙΓΈΝΕΙΑ. 
΄ a ὃ , ε Ν x» , 
τί χρῆμα δράσων; ῥητὸν ἢ σιγώμενον; 
OPESTHS. 
λέγοιμ᾽ ἄν: ἀρχαὶ δ᾽ αἵδε μοι πολλῶν πόνων. 
ἐπεὶ τὰ μητρὸς ταῦθ᾽ ἃ σιγῶμεν κακὰ 


εἰς χεῖρας ἦλθε, μεταδρομαῖς δ᾽ Ἐρινύων 


ἔνθεν μοι πόδα 


εἰς τὰς ᾿Αθήνας δή γ᾽ ἔπεμψε Λοξίας, 
é lol A“ 5 , ἣν 
δίκἣν παρασχεῖν ταῖς ἀνωνύμοις θεαῖς. 


ἃ Ψ x 
ἣν Ape ποτε 
χερῶν μιάσματος. 


For the expression, cf. the similar 

* πόδα πέμπω vs. 130 f.— Λοξίας : Lox- 
ias, an appellation of Apollo of un- 
known etymology. 

944. “To stand trial at suit of the 
nameless goddesses.” For ἀνωνύμοις, 
cf. τἂνδ᾽ ἀμαιμακετᾶν κυρᾶν, | ἃς τρέ- 
μομεν λέγειν Soph. Oed. Col, 128. 
The same euphemism as in the names 
Εὐμενίδες, Seuval. 

945 f. ψῆφος : taibunal ; i.e. the Sen- 
ate of the Areopagus (‘ Mars’ Hill’). 
ψῆφος “pebble,” “ ballot,” “court,” eft 
the changes of meaning the word 
‘court’ itself has undergone.—”Ape: 
Jor Ares, i.e. to have him tried (and 
cleared if possible); an entirely differ- 
ent dat. from θεαῖς v. 944, where the 
original meaning of δικὴν παρασχεῖν is 
to ‘give satisfaction.’ — εἴσατο: es- 
tablished. For the word, see H.517 17. 
—€k... μιάσματος : in consequence of 
some act of pollution or other; in fact 
for slaying Halirrothius, a son of 
Poseidon. Cf. ἔστιν 8 “Apeds τις ὄχθος, 
οὗ πρῶτον θεοὶ | ἕζοντ᾽ ἐπὶ ψήφοισιν αἵ. 
ματος πέρι, | ᾿Αλιρρόθιον ὅτ᾽ ἔκταν᾽ ὠμό- 
gpwv “Apns Ll. 1258,— δή : points to 


140 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ἐλθὼν δ᾽ ἐκεῖσε, πρῶτα μέν μ᾽ οὐδεὶς ξένων 


ἑκὼν ἐδέξαθ᾽, ὡς θεοῖς στυγούμενον " 


οἱ δ᾽ ἔσχον αἰδῶ, ξένια μονοτράπεζά μοι 


950 


» ᾿ a , 
παρέσχον, οἴκων ὄντες ἐν TAVTM στέγει, 


A δ᾽ 5 / > > ΄ θ / > ν 
σιγῃ ἐτεκτήναντ ἀπόφθεγκτόν μ΄, ὁπως 


Ν ΄ ΄, ΄ 5) 5. κα ΄, 
δαιτὸς γεένοιμὴν πώματος T AUTWV dixa, 


> sy » x Ψ ΄ὕ 
εις ὃ αγγος ἴδιον ισον ATAOL βακχίου 


μέτρημα πληρώσαντες εἶχον ἡδονήν. 


955 


κἀγὼ ᾿ξελέγξαι μὲν ξένους οὐκ ἠξίουν, 


» Ν la) 5 ’ 5 5 ΄ 
ἤλγουν δὲ oly? KQOOKOUV OUK εἰδέναι, 


the event as well known in regard to 
its nature, whatever the particulars 
may have been. 

947-960. Legendary details adapted 
to account for certain Athenian cus- 
toms in existence at the poet’s time. 
See Introd. p. 13. 

947. ἐλθών : said as if a passive verb 
were to follow; an anacoluthon of so 
common occurrence as to have re- 
ceived from grammarians the name of 
‘nominative absolute.’ Cf. vs. 696 ff. 

949-954. Those Athenians who 
scrupled to exclude their suppliant 
visitor entirely from their houses and 
from entertainment as guest (ξένια), 
attempted to reconcile the conflicting 
obligations of hospitality and avoid- 
ance of pollution, by serving the ma- 
tricide at a separate table (ξένια povo- 
τράπεζα), and by observing silence 
while he was present. It was unlaw- 
ful to speak to him, so they did not 
speak at all. 

949. ἔσχον αἰδῶ: “felt scruples of 
mercy.” 

950. οἴκων στέγει: οἴκῳ. The mer- 
ciful allowed Orestes to be under the 
same roof with themselves, although 
the strictest religion ordained ὠθεῖν 
am οἴκων πάντας Soph. Oed. Tyr. 241. 


᾿ ἀποφράς (nefandus). 


951. But by a silence of their own 
they contrived to keep me from speech of 
them, etc. — ἀπόφθεγκτον : pred. adj. 
ἀπό in comp. is here neg. in force; cf. 
For the ban, 
cf. ἄφθογγον εἶναι τὸν παλαμναῖον νόμος 
Aesch. Eum. 448, sc. until solemn 
purification had been undergone ; so 
of the murderer of Laius, μήτ᾽ εἰσδέ- 
χεσθαι, μητε προσφωνεῖν τινά Soph. 
Oed. Tyr. 258. 

953 f. ἄγγος ἴδιον: 1.6. a separate 
bowl for each man’s portion of wine, 
an ‘individual’ beaker, instead of 
drawing from a common κρατήρ. --- 
ἴσον : const. with μέτρημα. --- εἶχον 
ἡδονήν : “and thus quaffed the cheer.” 
These concluding words are graphic 
and descriptive (note the tense), leay- 
ing a picture of the scene before the 
mind of the hearer (reader), while the 
significant predication is contained 
in the participle πληρώσαντες κτλ. 

955-957. I, for my own part, did not 
see fit to take my hosts to task, but suf- 


fered in silence, and tried to seem uncon- 


scious, though in truth deeply sighing, 
that I was guilty of a mother’s blood. — 
ἐδόκουν : see on v. 1395. --- οὐκ εἰδέ- 
vat: not μή. because the inf. is in the 
construction of indirect discourse ; 








IPHIGENIA AMONG THE TAURIANS. 


141 


, , i Y > > \ , 
μέγα στενάζων, οὕνεκ᾽ ἢ μητρὸς φονεύς. 


κλύω δ᾽ ᾿Αθηναιοῖσι τἀμὰ δυστυχῆ 


ἣν \ ΄ θ » \ ΄ ΄ 
ΤΕΛΕΤΉΝ γένεσ αι, κατι TOV VOMOV μένειν 


960 


χοῆρες ἄγγος Παλλάδος τιμᾶν λεών. 


ὡς δ᾽ εἰς ΓΑρειον ὄχθον ἧκον, ἐς δίκην τ᾽ 


ἔστην, ἐγὼ μὲν θάτερον λαβὼν βάθρον, 


τὸ δ᾽ ἄλλο πρέσβειρ᾽ ἥπερ ἢν ᾿Ἐρινύων, 


see G. 1611, Η. 1024. — οὕνεκα κτλ.: 
const. with εἰδέναι. This comes to 
precisely the same thing as saying that 
he pretended not to notice any singu- 
larity in the treatment he received 
as guest.— 7: is the form in tragedy 
of the Ist pers. sing. impf. of εἶναι. 

958-960. Undramatic, and said from 
the point of view of the poet and the 
spectator. Anachronisms are charac- 
teristic of the literature of the stage. 
- τελετήν : a solemn rite. — γενέσθαι : 
the inf. instead of the regular partici- 
ple with κλύω (ἀκούω) to indicate ἃ sub- 
jective statement rather than percep- 
tion by the sense. “I hear,” equiv. to 
“Tam told”; cf. πρότερόν ποτ᾽ ἀκούω 
ξενικὸν τρέφειν ἐν Κορίνθῳ τὴν πόλιν 
Dem. iv. 29. --- καὶ ἔτι κτλ.: and that 
the custom still exists, of Pallas’ people 
honoring the cup of Choés-day. The 
second day of the Dionysiac festival 
Anthesteria was named Xdes, when 
at a drinking-match each contestant 
drained off his measure (χοῦς) of 
wine in the midst of perfect silence. 
-χοήῆρες ἄγγος : intended to suggest 
χοῦς, Xées, while also adapted to ἄγ- 
γος ἴδιον v. 953. 

961-967. The narrative is resumed 
from y. 946. The apodosis of the sen- 
tence begins with εἰπών v.964, although 
ἐγὼ piv...’ Epwiwy (vs. 962 f.) can 
hardly be said to belong more to pro- 
tasis than to apodosis. For the ana- 


coluthous structure in vs. 964 f., see 
on y. 947. 

961. ἤΑρειον ὄχθον : “Apevoy πάγον. 
- ἐς δίκην τ᾽ ἔστην: and was put on 
my triai. Elision at the end of an 
iambic trimeter verse has not been 
noted elsewhere in Euripides, but oc- 
curs several times in Sophocles (e.g. 
Oed. Tyr. 29), though never in Aeschy- 
lus. The phenomenon is instructive 
as helping to show that the dialogue 
of tragedy was not metre-bound in 
recitation. See p. 38, foot-note. 

962 f. There were twu white stones 
in the court, employed as_ stands 
(βάθρα) for accuser and accused re- 
spectively. Orestes took his place 
upon the λίθος Ὕβρεως, and the senior 
Fury hers upon the λίθος ᾿Αναιδείας. 
Thus the stones were named accord- 
ing to Pausanias i. 28. ὃ. --- τὸ δ᾽ ἄλλο: 
obj. οἵ λαβοῦσα, to be mentally sup- 
plied in agreement with ἥπερ κτλ. 
The nom. ἥπερ, or strictly the under- 
stood antecedent of ἥπερ, stands (with 
ἐγὼ μέν) in partitive apposition; no 
pl. verb or subj. has been expressed, 
but one ts implied in és δίκην ἔστην 
as well as in εἰπὼν ἀκούσας τε ν. 964. 
The whole passage is clearer before 
being grammatically explained than 
after. — πρέσβειρα: fem. form of 
πρέσβυς, which is often a superlative 
in sense; see H. 247 D. It forms 
the predicate with ἦν, 


142 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


> Ν > 4 > ν Ἂς , 
εἰπὼν ἀκούσας θ᾽ αἵματος μητρὸς πέρι, 


965 


A , 5 »” “ Ἂν δ 
Φοῖβός μ᾽ ἔσωσε μαρτυρῶν: ἴσας δέ μοι 


ψήφους διηρίθμησε Παλλὰς ὠλένῃ, 


lal > 5 lal / , 
νικὼν ὃ QTY) PA φόνια πειρατηρια. 


ν Ν > 4 A , 
ὅσαι μὲν οὖν ἕζοντο πεισθεῖσαι δίκῃ, 


A > > Ν ε Ν ε ’ 3 » 
ψῆφον παρ αὐτὴν ἱερὸν ὡρίσαντ ἔχειν" 


970 


ν Sl. 4 > > 7 ’ὔ’ 
ὅσαι δ᾽ ᾿Βρινύων οὐκ ἐπείσθησαν νόμῳ, 


’ὔ 3 ,ὔ 5 , 3 3. 
δρόμοις ἀνιδρύτοισιν ἠλάστρουν μ᾽ ἀεί, 


ἕως ἐς ἁγνὸν ἦλθον αὖ Φοίβου πέδον, 


964. “ After both parties had been 
heard, etc.’ — elroy ἀκούσας τε: an 
Attic phrase concisely designating 
impartiality of procedure in litigation ; 
cf. ἄναξ, ὑπάρχει μὲν τόδ᾽ ἐν TH σῇ χθονί, 
[εἰπεῖν ἀκοῦσαί τ᾽ ἐν μέρει πάρ- 
εστί μοι Heracl. 181, addressed to the 
ruler of Athens. 

965 f. Φοῖβος. . . μαρτυρῶν: the 
nature of Apollo’s evidence for the 
defendant, presenting the superiority 
of paternal to maternal claims, may 
be learned from Aeschylus, Hum. 
576 ff.—Voas δὲ κτλ.: Athena pre- 
sides in the court, and deposits the 
casting-vote in favor of Orestes, to 
break the tie; hence the phrase ψῆφος 
᾿Αθηνᾶς (calculus Minervae) in 
the custom of interpreting a tie vote 
as an acquittal in cases of bloodshed. 
- ὠλένῃ : instead of χερί. Euripides 
was rather fond of the word ὠλένη, 
but there is dignity in its use here. 

967. And I came off victorious in 
the trial for murder.—danpa: see 
on ΨΥ. 811. --- πειρατήρια: cf. peri- 
culum. For the acc. of kindred 
meaning with νικῶν, see G. 1052, H. 
716 a. 

968 ff. It is at this point that the 
myth overpasses its original limit, in 
that certain of the goddesses refuse 


to be bound by the verdict, and con. 
tinue their persecution of Orestes. 

968. Now then, such of them as were 
disposed to stay and abide by the judg- 
ment. — ἕζοντο: contrasted with the 
thought of moving further implied in 
ἠλάστρουν Vv. 971. 

969. The ancient shrine of the Eu- 
menides in a grotto of the Hill of 
Ares is thus traced to its mythical 
establishment. Likewise in the play 
of Aeschylus. Cf also δειναὶ μὲν οὖν 
θεαὶ τῷδ᾽ ἄχει πεπληγμέναι | πάγον 
παρ᾽ αὐτὸν χάσμα δύσονται χθονός, | 
σεμνὸν βροτοῖσιν εὐσεβὲς χρηστήριον 
Εἰ. 1210. --- παρ᾽ αὐτήν: hard by. Cf. 
classemque sub ipsa | Antan- 
dro et Phrygiae molimur mon- 
tibus Idae Verg. Aen. iii. 5. — dpt 
σαντο: literally, “allowed the boun- 
daries to be marked out for them.” 
From the spirit of the Aeschylean 
representation (Hum. 847 ff.) we may 
say “agreed,” “consented.” 

971f. ἀνιδρύτοισιν : unresting. ἱδρύ- 
ew “settle,” vs. 978, 1489. -- avd: once 
more. This was Orestes’ third visit to 
the oracle, the one that belongs to 
the new part of the legend. — ἁγνὸν 
Φοίβου πέδον: Phoebus’ holy ground. 
The Delphian temple and its pre- 
cincts, 





IPHIGENIA 


AMONG THE TAURIANS. 


145 


Ν ΄, > 4, 3 ΄, A a 
και πρόσθεν ἀδύτων ἐκταθείς, νῆστις βορᾶς, 


5 ’΄ 3 5 “~ 7 > ’ ’ 
ἐπώμοσ᾽ αὐτοῦ βίον ἀπορρήξειν θανών, 


975 


> , 7 A ν > 5 YA 
εἰ μή με σώσει Φοῖβος, ὅς μ᾽ ἀπώλεσεν. 


ἐντεῦθεν αὐδὴν τρίποδος ἐκ χρυσοῦ λακὼν 


Φοῖβός μ᾽ ἔπεμψε δεῦρο, διοπετὲς λαβεῖν 
ἄγαλμ᾽ ᾿Αθηνῶν 7 ἐγκαθιδρῦσαι χθονί. 


ἀλλ᾽ ἥνπερ ἡμῖν ὥρισεν σωτηρίαν 


980 


΄ al \ a , 4 
σύμπραξον: ἢν yap θεᾶς κατάσχωμεν βρέτας, 


“ Ἂ 
μανιῶν τε λήξω καὶ σὲ πολυκώπῳ σκάφει 


’ὔ / 3 ΄ ΄ 
στείλας Μυκήναις ἐγκαταστήσω πάλιν. 


ἀλλ᾽ ὦ φιληθεῖσ᾽, ὦ κασίγνητον κάρα, 


-“ an > » 
OWOOV πατρῳον οἰκον, ἔἐκσωσον δ᾽ ἐμέ: 


973-975. Orestes comports himself 
precisely as did the final envoys from 
Athens to Delphi, just before the con- 
flicts with Xerxes. Their words as 
given by Herodotus were: ὦναξ, χρῆ- 
σον ἡμῖν ἄμεινόν τι περὶ τῆς πατρίδος, 
αἰδεσθεὶς τὰς ἱκετηρίας τάσδε τάς τοι 
ἥκομεν φέροντες - ἢ οὔ τοι ἄπιμεν ἐκ 
τοῦ ἀδύτου, ἀλλ᾽ αὐτοῦ τῇδε μενέομεν 
ἔστ᾽ ἂν καὶ τελευτήσωμεν Vil. 141. The 
response to this appeal was the fa- 
mous oracle of the ‘ wooden wall.’ — 
νῆστις Bopas: without taste of food.— 
αὐτοῦ: right there; cf. αὐτοῦ τῇδε 
(right here) Hat. 1.6., also vs. 1182, 
1159, 1215. — βίον ἀπορρήξειν θανών : 
viz. by starvation. The suppliant 
makes use of forcible expressions in 
his final despairing petition to this 
priestly supreme court of appeals. — 
For ῥηγνύναι in this connexion, cf. ψυ- 
χορραγεῖς ν. 1400. --- σώσει... ἀπώ- 
λεσεν : by this contrast the petitioner 
exhibits the justice of his claim: — 
the god shall rectify the consequences 
of his original command. 

976 f. ἐντεῦθεν : thereupon. Cf. ἔν- 


θεν v. 942. ---λακών : see on v. 461. 
- διοπετές : interpreted by vs. 87 f. 

979-986. The narrative passes into 
personal exhortation of Iphigenia. 
The Taurian image is to Orestes the 
palladium of his future well-being: it 
is in the possession and under the pro- 
tection of his sister; he anticipates 
her scruples in regard to its removal, 
hence the earnest, almost passionate, 
fervor of his appeal in ys. 983 ff. 

979 f. yvrep...cwrnplav: for the 
arrangement, cf. vs. 39, 63 f., 1298, 
1293 f., 1442 f. (G. 1037, H. 995 with 
c).— ἡμῖν ὥρισεν : he marked out for 
us. Cf. the mid. vy. 969. The pl. ἡμῖν, 
not for the sing., but to include Iphi- 
genia, as Orestes goes on to say (kat 
σὲ κτλ. V8. 981 f.), — σύμπραξον : help 
to achieve. 

983 f. ὦ κασίγνητον κάρα: inter- 
rupting φιληθεῖσα (instead of κασι- 
yhtn).— Ch ὦ αὐτάδελφον 
Ἰσμήνης κάρα Soph, Ant. 1. ‘There 
is no counterpart in English to κάρα 
κεφαλή, as here employed. — 
.. ἔκσωσον : anaphora with 


κοινὸν 


and 
σῶσον. 


144 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


»” » x lal 
985 ws Tau ὄλωλε πάντα Kat Ta Πελοπιδῶν, 


οὐράνιον εἰ μὴ ληψόμεσθα θεᾶς βρέτας. 


ΧΟΡΟΣ. 


/ > Ν ld 5» 4 
δεινή Tis ὀργὴ δαιμόνων ἐπέζεσεν 


Ν ’ὔ 7, Ν ’, 3 » 
τὸ Ταντάλειον σπέρμα διὰ πόνων τ᾽ ἄγει. 


IPITENEIA. 


Ν Ν ΄ lA ον] 5» lal » 
τὸ μὲν πρόθυμον, πρίν σε δεῦρ᾽ ἐλθεῖν, ἔχω 


990 


» »; x - /, 3 5 nw 
Apyet γενέσθαι και σέ, σύγγον, εἰσιδεῖν, 


la > ν 4 ip "“ ’ὔ 
θέλω ὃ περ σὺ, σέ τε μεταστῆσαι πονων 


lal ’ ΕΣ iO} ἊΝ ΄-»" A 4 
νοσοῦντα T οἶκον, οὐχὶ τοῖς κτανοῦσί με 


, wn ΕῚ lal , 
θυμουμένη, TAT PWOV ὀρθῶσαι πάλιν" 


σφαγῆς τε γὰρ σῆς χεῖρ᾽ ἀπαλλάξαιμεν ἂν 


» 
995 σώσαιμί T οἴκους. 


τὴν θεὸν δ᾽ ὅπως λάθω 


δέδ Ν ,ὔ ε Tits, “Δ Ν 
εοοικα και τυραννον, QVULK ἂν KEVaS 


variation of form; cf. vs. 1018 f., 
1059. Freq. in Sophocles; cf. φίλη 
μὲν ἥξειν πατρί, προσφιλὴ 5 δὲ ool, | 
μῆτερ, φίλη δὲ σοί, κασίγνητον κάρα 
Ant. 898. No variation of meaning 
is intended. 

985 f. ὡς... πάντα: since it is utter 
ruin to me. — καὶ τὰ Πελοπιδῶν : a tri- 
brach in the fifth foot has a retarding 
effect upon the flow of the verse, and 
is of comparatively rare occurrence. 
-- οὐράνιον : the same thought as in 
διοπετές V. O77. 

987f. σπέρμα: ernst. with the two 
verbs “© common, though ἐπέζεσεν 
alone would require the dative. 

989. τὸ μὲν πρόθυμον : correlative 
to τὴν θεὸν δὲ κτλ. v. 995. She has 
had the will from the beginning, but 
the deed may not prove easy of ac- 
complishment. — ἔχω : gets the sense 
of a pf. and pres. combined, from πρὶν 

. ἐλθεῖν. See G. 1258, H. 826. 


991-993. θέλω δὲ κτλ.: amplifies 
and specifies τὸ πρόθυμον ἔχω (v. 989), 
which was said comprehensively, as 
v. 990 shows. And I desire the same 
ends as you.—oé τε KTA.: explana- 
tory of ἅπερ σὺ (OéAcs), τέ... TE 
being correlative. — οὐχὶ . . . θυμου- 
μένη : cherishing no resentment against 
my slayers (viz. her father). 

994. γάρ: for thereby. A special 
motive is here given for θέλω δ᾽ ἅπερ 
av (v. 991): viz. σφαγῆς σῆς χεῖρ᾽ 
ἀπαλλάξαιμεν av. The performance of 
her duty as priestess would involve 
a crime. The second clause, oa- 
σαιμί 7 οἴκους, though grammatically 
parallel to the first (τέ... τέ), is in 
effect nothing but a perfectly natural 
repetition of οἶκον ὀρθῶσαι vs. 992 f. 
“ Besides saving the family.” 

995-997. θεόν, τύραννον: both 
nouns are governed grammatically 
by λάθω and δέδοικα in common. In 





IPHIGENIA AMONG THE TAURIANS. 


145 


κρηπῖδας εὕρῃ λαΐνας ἀγάλματος. 


a > lal 
πῶς δ᾽ ov θανοῦμαι; tis δ᾽ ἔνεστί μοι λόγος; 


> > > \ g f°? ε “ /, 
ἀλλ᾽ εἰ μὲν ev τι τοῦθ᾽ ὁμοῦ γενήσεται, 


᾿Ξ,» ’, > ¥ V3 Ἂς.) > / Ν 
1000 ayahwa T οἱσεις καμ ET εὐπρύμνου νεὼς 


μὲ Ν , , ΄ 
ἄξεις, τὸ κινδύνευμα γίγνεται καλόν" 


δ lal 
1 τούτου δὲ χωρισθεῖσ᾽ ἐγὼ μὲν ὄλλυμαι, 


Ν δ᾽ “ἡ ἊΝ ἴω / > , , 
συ αν TO σαυτου θέμενος ευ νοστου τυχοις. 


> ΄ , > 50 7 > > A , 
OU μὴν τι φεύγω bY, οὐδέ μ ευ θανεῖν χρεων, 


1005 σώσασά σ᾽. οὐ γὰρ ἀλλ᾽ ἀνὴρ μὲν ἐκ δόμων 


θανὼν ποθεινός, τὰ δὲ γυναικὸς ἀσθενῆ. 


reciting, the pause comes after δέ- 
δοικα, as the clause ἡνίκα κτλ. shows. 
— Anticipation (prolepsis) is very 
common with a verb of fearing; cf. 
δέδοικα δ᾽ αὐτὴν μή τι βουλεύσῃ νέον 
Med. 37.— ὅπως λάθω : indirect ques- 
tion depending on verb of fearing ; 
see GMT. 376. 

998. tls... λόγος : what is it pos- 
sible for me to say? Viz. in explana- 
tion of the disappearance of the idol. 

999-1006. Iphigenia resolves to 
save her brother and his fortunes, 
though she herself perish in the un- 
dertaking. 

999-1003. The alternatives, intro- 
duced by εἰ μέν (v. 999) and τούτου δέ 
(vy. 1002), are her own deliverance or 
her death. The escape of Orestes 
with the image is to be effected in 
either event. 

999-1001. ἀλλά: however. This 
word marks the transition to a de- 
termined purpose, after the utterance 
of perplexity in v. 998. A conclu- 
sive turn of any sort is indicated by 
ἀλλά. Cf. vs. 636, 699, 979 (eight 
lines in conclusion, as here). — εἰ μὲν 
κτλ: ‘if these two things can be 
done together,— if you can both 
carry off the image and take me, 


..s γενήσεται : the subj. 
is τοῦτο, sing. by assimilation to the 
pred. ἕν τι. --- ἄγαλμα τ᾽ οἴσεις kal... 
ἄξεις: explanatory οἵ τοῦτο γενήσε- 
Cf. vs. 488 f.— εὐπρύμνονυ νεώς : 
Iphigenia has remembered πολυκώπῳ 
σκάφει V. 981. --- γίγνεται : here, as so 
often, nearly equivalent to ἃ _pas- 
sive. ‘Then is the venture nobly 


Tal. 


won, 

1002 f. But reft of this, I, to be sure, 
am lost, but you will successfully accom- 
plish your own purpose and gain a safe 
return. — τούτου δὲ χωρισθεῖσα: in 
form, adapted to ἐγὼ μὲν ὄλλυμαι Only, 
but belonging in sense and position 
also to σὺ δὲ κτλ. ---- The meaning is 
the same, whether τούτου be taken 
as referring to τοῦτο (vy. 999) or to 
ἄγαλμα (Vv. 1000), but the word χωρισ- 
θεῖσα shows that the speaker thinks 
of the image. She expects to meet 
with little difficulty in packing that 
off, but anticipates much in escaping 
with it herself.—e¥: construe with 
θέμενος. 

1004-1006. εἰ θανεῖν χρεών : after 
φεύγω, instead of simply θανεῖν. ““Υοἱ 
even though I must die I shrink not 
from it.” -- σώσασά σε: provided 1 
save you. Conditional participle. — οὐ 


146 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTHS. 


x» 4 \ ; 
οὐκ ἂν γενοίμην σοῦ TE καὶ μητρὸς φονεύς ° 


4 XN / @ / x Ν 
ἅλις τὸ κείνης αἷμα: κοινόφρων δὲ σοὶ 


καὶ ζην θέλοιμ᾽ ἂν καὶ θανὼν λαχεῖν ἴσον. 


» , 5» v SEIN 5 a / 
1010 ἀξω δέ 0, YVTEP KQUTOS ἐνταυθοῖ Τεέσω, 


“" xX nw ΄ς“ 
πρὸς οἶκον, ἢ σοῦ κατθανὼν μενῶ μέτα. 


» > =f 3 4 > / 
γνώμης δ᾽ ἄκουσον" εἰ πρόσαντες ἦν τόδε 


᾿Αρτέμιδι, πῶς ἂν Λοξίας ἐθέσπισεν 


κομίσαι μ᾽ ἄγαλμα θεᾶς πόλισμ᾽ εἰς Παλλάδος 


\ A Ψ 
1015 καὶ σὸν πρόσωπον εἰσιδεῖν; ἅπαντα γὰρ 


συνθεὶς τάδ᾽ εἰς ἕν νόστον ἐλπίζω λαβεῖν, 


ΙΦΙΓΕΝΕΊΙΑ. 


A > , 2 ἃ 7 “π΄ a 
πως ουν γένουτ av WOTE μήθ μας θανεῖν, 


γὰρ ἀλλά: γῶν πο! Cf. οὐ μὴν ἀλλάν. 
630.— ποθεινός : missed. — τὰ γυναι- 
Kos: woman; more general than γυνή, 
and more so than ἀνήρ in vy. 1005 
(“aman”). 

1007-1009. οὐκ ἂν γενοίμην : the 
potential opt. makes a forcible nega- 
tion, because it means [ wil/, and not 
I shall. Cf. v. 717.— κοινόφρων δὲ σοί: 
but of one mind with thee. — @édow’ av: 
I choose. The potential construction 
is continued. 

Of self-sacrificing women Euripides 
has furnished more than one illustri- 
ous example; but in this play we find 
even self-sacrificing men. 

1010 f. The declaration just made 
is repeated in more specific terms. — 
ἤνπερ... πέσω : so surely as I get there 
myself. —Ka\ αὐτός: for the idiomatic 
kal, cf. v. 592. — πέσω: of a change 
of state; see on v. 730, and cf. ἐν νηὶ 
παλιμπετὲς- ἀπονέωνται Hom. e 27. 

1012-1016. Orestes, who is the de- 
spondent sceptic no longer, offers his 
reasons for believing that the will of 


Artemis herself is to be served by 
their undertaking. 

1012. γνώμης : what I think. — πτρόσ- 
αντες : unacceptable. ἄντην : προσάντης 
“up-hill,” κατάντης “ down-hill.” Ores- 
tes urges that a conflict between the 
will of Apollo and the will of Apol- 
lo’s sister Artemis is impossible. 

1014. πόλισμ᾽ eis ΠΠαλλαδος: see 
on δέρῃ πρὸς ἀνδρός v. 1460. 

1015. καὶ σὸν πρόσωπον εἰσιδεῖν : 
certainly a very important resu/t of 
the oracle, if not intimated in the 
words of the god; see on v. 86, and cf. 
vs. 1438-1441. — ἅπαντα: if, as is 
generally believed, a portion of Ores- 
tes’ argument has been lost from the 
text after v. 1014, then we have not be- 
fore us all that was here summed up. 

1016. Putting all this together, I am 
led to hope, etc. 

1017-1019. πῶς οὖν γένοιτ᾽ av: 
how then can it be managed? — τῇδε 
KTA.: here is the difficulty in the journey 
home; this is the subject for our delib- 
eration.—7ySe . . . ἦδε: for the anaph- 





IPHIGENIA AMONG THE TAURIANS. 


147 


a τοῖς ἄχ τὰ la al 

λαβεῖν θ᾽ ἃ βουλόμεσθα; τῇδε yap νοσεῖ 
΄Ξ N » 2 

νόστος πρὸς οἴκους - ἥδε βούλευσις πάρα. 


OPESTHS. 


x * 
1020 ap ἂν τύραννον διολέσαι δυναίμεθ᾽ av; 


IPITENEIA. 


δεινὸν τόδ᾽ εἶπας, ξενοφονεῖν ἐπήλυδας. 


OPESTHS. 


ΕῚ 5 > \ rd » » / 
ἀλλ᾽ εἰ σὲ σώσει κἀμέ, κινδυνευτέον. 


IPITENEIA. 


> a» ὃ 7 Ν δὲ ΄ ¥ 
οὐκ ἂν δυναίμην, TO δὲ πρόθυμον ἥνεσα. 


ΟΡΕΣΤΗΣ. 


τί δ᾽, εἴ με ναῷ τῷδε κρύψειας λάθρα; 


ΙΦΙΓΕΝΕΙΑ. 


1025 ὡς δὴ σκότος λαβόντες ἐκσωθεῖμεν ἄν; 


ΟΡΕΣΤΗΣ. 


κλεπτῶν γὰρ ἡ νύξ, τῆς δ᾽ ἀληθείας τὸ φῶς. 


ora, see on vy. 984. Observe the ex- 
plicitness of statement in these transi- 
tional lines. 

1021. δεινὸν τόδ᾽ εἶπας: a shocking 
proposal. Of. δίκαιον εἶπας v. 740. 

1023. Nay I cannot consent, though 
7 must approve your zeal. —ov« ἂν δυ- 
ναίμην : sc. fevopoveiv. For δύνασθαι ἴτπι 
a moral sense, cf. οὔτ᾽ ἂν δυναίμην μήτ᾽ 
ἐπισταίμην λέγειν Soph. Ant. 686. 

Iphigenia naturally declines to con- 
nive at the destruction of the foreign 
king, to whom she has stood in hos- 
pitable and friendly relations. The 
death of ‘Thoas formed a part of some 


of the other dramatizations of this 
subject, but we do not know under 
what circumstances it was brought 
about. 

1025. That we may take advantage 
of the dark, you mean, to make good our 
escape? (i.e. with the booty),— ds: 
for ὥστε, as often. 

1026. Ay, night is the time for thieves, 
even as for truth the light of day. Cf. 
κλέπτῃ δέ τε νυκτὺς ἀμείνω Hom. Γ 1], 
said of the fog. The second part of 
the line, τῆς 5 ἀληθείας τὺ φῶς, illu- 
minates the maxim by its antithetie 
effect, 


148 


ΒΥΡΙΠΊΔΟΥ I®ITENEIA, 


IPITENEIA. 


=A) ον, ε A 4 ἃ > “4 
εἰσ᾽ ἔνδον ἱεροῦ φύλακες, ovs οὐ λήσομεν. 


ΟΡΕΣΤΗΣ. 


οἴμοι διεφθάρμεσθα- πῶς σωθεῖμεν ἄν; 


IPITENEIA. 


» A Ν 5 ’ , 
EX ELV δοκῶ μου καινον ἐξεύρημά τι. 


ΟΡΕΣΤΗΣ. 


1080 ποῖόν τι; δόξης μετάδος, ὡς κἀγὼ μάθω. 


ΙΦΙΓΕΝΕΊΙΑ. 


ταῖς σαῖς ἀνίαις χρήσομαι σοφίσμασιν. 


OPESTHS. 


δειναὶ γὰρ αἱ γυναῖκες εὑρίσκειν τέχνας. 


ΙΦΙΓΕΝΕΙΑ. 


φονέα σε φήσω μητρὸς 


ἐξ "Apyous μολεῖν. 


ΟΡΕΣΤΗΣ. 


χρῆσαι κακοῖσι τοῖς ἐμοῖς, εἰ κερδανεῖς. 


ΙΦΙΓΕΝΕΙΑ. 


1035 ὡς οὐ θέμις σε λέξομεν 


1027. The second proposal is thus 
dismissed, not too abruptly. Obs. 
four lines for each of the two rejected 
propositions. At its close, also, the 
dialogue tends to fall into quatrains. 

1030. δόξης: adapted to δοκῶ v. 
1029. For μετάδος, cf. eis τὸ κοινὸν δούς 
v. 675. 

1031 f. codlopacw: for a crafty 
Pred. noun. —8ewal εὑρίσ- 
ke: clever at inventing. 

1033 f. μολεῖν : in English simply 
“are”; see on ἥκουσι v. 258.— εἰ κερ- 


scheme. 


θύειν θεᾷ, 


δανεῖς : if you expect to win byit. The 
κέρδος will counteract the δυσφημία. 
Cf. δοκῶ μέν, οὐδὲν ῥῆμα σὺν κέρδει 
κακόν (“of evil omen”) Soph. ΕἸ. 61; 
κακὸς μὲν ips (“omen”) + εἰ δὲ κερ- 
δανῶ λέγων, ἕτοιμός εἶμι μὴ θανὼν 
λόγῳ θανεῖν Hel. 1051. 

1035 f. ὡς οὐ θέμις : se. ἐστί. ---- αἱ- 
τίαν ἔχουσα: αἰτίαν ἔχειν, besides 
meaning to “be to blame,” efc., some- 
times means to “have a reason to 
give,” as here; cf. ἢ συγγενὴς ὦν, ἢ 
τίν᾽ αἰτίαν ἔχων; Hec. 1208, 





IPHIGENIA AMONG THE TAURIANS. 


149 


OPESTHS. 


9 > 4 » > 
TW QLTLAV €XOvO ; 


ὑποπτεύω TL γάρ. 


ΙΦΙΓΕΝΕΙΑ. 


οὐ καθαρὸν ὄντα, τὸ δ᾽ ὅσιον δώσω φόνῳ. 


OPESTHS. 


τί δῆτα μᾶλλον θεᾶς ἀγαλμ᾽ ἁλίσκεται; 


ΙΦΙΓΕΝΕΊΙΑ. 


πόντου σε πηγαῖς ἁγνίσαι βουλήσομαι. 


ΟΡΕΣΤΗΣ. 


»ἥ» - 
1040 ἔτ᾽ ἐν δόμοισι βρέτας, ἐφ᾽ ᾧ πεπλεύκαμεν. 


IPITENEIA. 


5 a vs “ , ν 5 lal 
κάκεινο νίψαι, σου θιγόντος ως, Epa. 


OPESTHS. 


A an z , τι > ΕΣ 
ποῖ δῆτα; πόντου νοτερὸν εἶπας ἔκβολον ; 


IPJTENEIA. 


e ἴω A , ε a ΄ 
οὗ ναῦς χαλινοῖς λινοδέτοις ορμει σέθεν. 


1037. The sentence begun in v. 
1035 is continued. Because you are 
unclean, whereas I am to consign to 
slaughter only what is pure.—8dcw: 
depends on ὡς ν. 1035. 

1039. βουλήσομαι: J shall wish. 
The future by assimilation to λέξο- 
μεν v. 1035, and δώσω v. 1037: for 
φήσω βούλεσθαι. 

1040. Interposed in a critical tone, 
like vy. 1038. Dramatically such in- 
terruptions indicate impatience, won- 
der, or some similar feeling; artisti- 
cally, the stichomythia in this way 
retards the mental movement, and 
reflects the progress of ideas in the 
mind of the spectator, instead of hur- 
rying his wits—an art well under- 


stood in the ‘minstrel business’ of 
the present day.—éq’ ᾧ : dat. for the 
usual accusative ; cf. v. 1206. 

1041. κἀκεῖνο νίψαι : “and to wash 
it.” Const. with βουλήσομαι v. 1039. — 
σοῦ... ὥς: ‘tamquam a te tac- 
tam.’—épo: as 7 shall declare. ‘The 
verb is appended or parenthetic. 

1042. ποῖ δῆτα : whither pray? πόν- 
του πηγαῖς (ν. 1039) has suggested 
going somewhere, for the purpose 
mentioned, — εἶπας : do you mean? — 
ἔκβολον : “inlet” we should say. CF. 
ἐκπίπτειν. 1196, where it appears that 
there was a beach close by the tem- 
ple. 

1043. 


to Orestes’ question, 


In effect a negative answer 
A more remote 


180 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 


OPESTH2. 


σὺ δ᾽ 7 τις ἄλλος ἐν χεροῖν οἴσει βρέτας; 


ΙΦΙΓΕΝΕΙΑ. 


1045 ἐγώ: θιγεῖν γὰρ ὅσιόν ἐστ᾽ ἐμοὶ μόνῃ. 


ΟΡΕΣΤΗΣ. 


Πυλάδης δ᾽ ὅδ᾽ ἡμῖν ποῦ τετάξεται φόνου; 


ΙΦΙΓΕΝΕΙΑ. 


5 ‘\ “ Ων , , J », 
TQAVTOV XEpow σοι λέξεται μιασμ EX OV. 


OPESTHS. 


λάθρᾳ δ᾽ ἄνακτος ἣ εἰδότος δράσεις τάδε; 


IPITENEIA. 


i“ 4, 3 \ x , ’ 
πεισασα μύθοις ᾿ OU Yap αν λάθοιμί γέ: 


ΟΡΕΣΤΗΣ. 


1060 καὶ μὴν νεώς γε πίτυλος εὐήρης πάρα. 


IPITENEIA. 


σοὶ δὴ μέλειν χρὴ TAN ὅπως ἕξει καλῶς. 


locality than the one he seems to 
have meant is to be selected. An ex- 
cuse therefor is given in y. 1197.— 
χαλινοῖς : the ship is conceived as a 
steed; cf. νηῶν ὠκυπόρων ἐπιβαινέμεν, 
ai? ἁλὸς ἵπποι] ἀνδράσι γίγνονται 
Hom. ὃ 708. 

1046. But what place is Pylades here 
to have in our tale of bloodshed ? — ἡμῖν: 
ethical dative. — φόνου : partitive gen. 
with ποῦ. Cf. ὅποι χθονός ν. 119. 

1047. Thoas will be given to under- 
stand that the two are brothers; HEI 
1179, --- λέξεται ἔχων : the participle 
with a verb of saying is rare; cf. 
μηδέ με (ζῶσαν λέγε El. 687. With 


this construction, λέγειν approaches 
the meaning of καλεῖν. “He shall be 
described as having.” For the fut. 
mid. as passive, see H. 496. 

1048. ἢ εἰδότος : read with syni- 
zesis. 

1050. Well, our ship at least is there 
with handy oar. — νεὼς πίτυλος : poeti- 
cally for the vessel itself; cf. vs. 1894 f., 
νεὼς μὲν πίτυλος εἷς λελειμμένος (1.6. 
ναῦς μία) Troad. 1123. For πίτυλος, 
see on v. 907. 

1051. τὰ ἄλλα: viz. the embarca- 
tion and flight, after the priestess has 
performed her part and they have 
arrived at the ship. 





IPHIGENIA AMONG THE TAURIANS. 


151 


OPESTH=. 


ἑνὸς μόνου δεῖ, τάσδε συγκρύψαι τάδε. 


ἀλλ᾽ ἀντίαζε καὶ λόγους πειστηρίους 


Ψ 3 » ΄ > > , 
ευρισκ 3 EXEL TOL δύναμιν εις OLKTOV γυνή. 


1055Ta δ᾽ ἀλλ᾽ ἴσως ἂν πάντα συμβαίη καλῶς. 


IPITENEIA. 


ὦ φίλταται γυναῖκες, εἰς ὑμᾶς βλέπω, 


᾿ = Aue) > (J te 5 ἈΝ “ἡ la »Ἤ 
Kal Tae ἐν ὑμῖν ἐστὶν ἢ καλῶς ἔχειν 


ἢ μηδὲν εἶναι καὶ στερηθῆναι πάτρας 


φίλου τ᾽ ἀδελφοῦ φιλτάτης τε συγγόνου. 


1060 καὶ πρῶτα μέν μοι τοῦ λόγου τάδ᾽ ἀρχέτω. 


γυναῖκές ἐσμεν, φιλόφρον ἀλλήλαις γένος, 


6 Ν ΄ > 5 λέ, 
σῳ ειν TE KOLA πραγΎματ arpa E€OTATAL. 


> e A Ν 
σιγήσαθ᾽ ἡμῖν καὶ συνεκπονήσατε 


as. καλόν τοι γλῶσσ᾽ ὅτῳ πιστὴ παρῇ. 
wy, i 71) } 


1052. τάσδε κτλ. : “that our friends 
here keep the secret with us.” The 
confidence of the chorus came to be a 
most important matter in plays of in- 
trigue, like the present tragedy, hence 
the Horatian precept: ille tegat 
commissa Ars Poet, 200. 

1053 f. ἀλλά: see on v. 999. --- τοί: 
‘genomic’ particle, so called from its 
freq. use in maxims; c/. vs. 650, 1064. 
—els οἶκτον : “to move the feelings.” 

1055. The response to vy. 1051. 

1057-1059. My fate is in your hands, 
whether to be happy or to come to nought, 
ete. — τἀμά: the subj. of ἐστίν by 
anticipation, in sense also the subj. 
of the infinitives that follow. —ote- 
ρηθῆναι κτλ.: these words show that 
τἀμά is felt as completely identical 
with ἐμέ (2vd).— φίλου... φιλτάτης : 
no significant difference is intended, 


although the effect of a climax is 
gained. Electra is not forgotten 
here as at v. 898; the argument is 
of a different sort. 

1060. And first now, let this be the 
beginning of my appeal. —mpara μέν: 
no correlative is expressed. — τάδε: 
explained by vs. 1061 f. 

1061 f. yévos: sex; of. v. 1298, — 
σῴζειν κτλ.: and very sure at keeping 
mutual secrets. Considerable ground 
is covered by the powers that have 
thus far been attributed to ‘the sex’; 
cf. vs. 1054, 1032, 1006. 

1064, ὅτῳ: instead of ἣν τῳ; cf. 
y. 606. For the omission of dy, see 
GMT. 540. By the arrangement here 
somewhat of the same effect is pro- 
duced as by saying καλὸν γλῶσσα 
moth (“ A fine thing is a trusty 
tongue ”’). 


192 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENETA. 


ε “A > ε ᾿ ον - 4 Ν ’ 
1066 ὁρᾶτε δ᾽ ὡς τρεῖς μία τύχη τοὺς φιλτάτους, 


“ἡ -~ 4 / x 0 om » 
1 γὴς πατρφαᾶς VOOTOS Ἢ QvVvely, EXEL. 


“ » ε “Δ Ν Ν ~ Ἅ, 
σωθεῖσα δ᾽, ὡς ἂν καὶ σὺ κοινωνῇς τύχης, 


σώσω σ᾽ ἐς ὙῬ λλαδ᾽. 


ἀλλὰ πρός σε δεξιᾶς, 


Ν Ν > ε “ Ν Ν ’, , 
σὲ Kal σ᾽ ἱκνοῦμαι, σὲ δὲ φίλης παρηίδος 


,’ \ A 5 ’ὕ i) 
1070 γονάτων. TE καὶ τῶν ἐν δόμοισι φιλτάτων. 


lat Xx 
τί φατέ; Tis ὑμῶν φησὶν ἢ Tis ov θέλει, 


φθέγξασθε, ταῦτα; μὴ γὰρ αἰνουσῶν λόγους 


» » AN A 4 , 
Owha κἀγὼ και κασίγνητος τάλας. 


ΧΟΡΟΣ. 


1075 θάρσει, φίλη δέσποινα, καὶ σῴζου μόνον. 


ὡς ἔκ γ᾽ ἐμοῦ σοι πάντα σιγηθήσεται, 


¥ ΄ es, ae 5 , ΄ 
((στω μέγας Ζεύς), ὧν ἐπισκήπτεις πέρι. 


ἸΦΙΓΈΝΕΙΑ. 


ὄναισθε μύθων καὶ γένοισθ᾽ εὐδαίμονες. 


Ν » "ὃ \ Ἂς 5 ’, δό 
σον εργον 107 καὶ σον εἰσβαίνειν ομους " 


ε 5 “65 ν “Ὁ , / 
1080 WS QUTLK ἥξει τῆσδε KOLPQVOS χθονός, 


΄ 3 »3 5 7 ὔ 
θυσίαν ἐλέγξων ει KATELDYQAOT OAL ξένων. 


1065 f. τρεῖς pla: see on y. 621.— 
γῆς νόστος: objective gen. with the 
noun, like an acc. with a verb, de- 
noting limit of motion. Cf. ἐπιμαίεο 
νόστου | γαίης Φαιήκων Hom. ε 
944. --- ἔχει: “awaits.” Three per- 
sons bound up in one destiny. 

1067-1069. ὡς av: G. 1367, H. 
882. --- πρός σε δεξιάς : const. σέ with 
ἱκνοῦμαι. For its position (here idio- 
matic) see on v. 679. The Latin has 
the same idiom; cf per ¢é deos 
oro et nostram amicitiadm, 
Chremes Ter. Andr. iii. 3. 6.—oe 
καὶ σὲ x7A.: addressing individual 
members of the band separately. 
To what extent the action here 
indicated was carried out in the 


representation, we cannot tell. See 
p. 39, fin. 

1071 f. φησίν: ait, “says ay.” — οὐ 
θέλει ταῦτα: ἐξ not in favor of this. — 
φθέγξασθε : speak up! Parenthetical. 
The expression implies a pause preced- 
ing it, and impatience to hear the re- 
sponse of the coryphaeus. — μὴ αἰνου- 
σῶν λόγους : ἢν μὴ αἰνῆτε τοὺς ἐμοὺς 
λόγους. “ Unless you yield assent.” 

1077. ἴστω Ζεύς : witness Zeus ! — 
dy: the antecedent is πάντα vy. 1076. 

1078. ὄναισθε μύθων: “bless you 
ΤΟΥ γοῦν words!” For the gen., see 
G. 1126, H. 740. 

1079-1081. Addressed to Orestes 
and Pylades, who withdraw into the 
temple.— θυσίαν κτλ. : ‘anticipation.’ 





IPHIGENIA AMONG THE TAURIANS. 


153 


> ΄ sy Ὁ ᾽ 
ὦ πότνι᾽, ἥπερ μ᾽ Αὐλίδος κατὰ πτυχὰς 


δεινῆς ἔσωσας ἐκ πατροκτόνου χερός, 


A , Ν a , > Δ N , 
σῶσόν pe Kal νῦν τούσδε τ᾽. ἢ τὸ Λοξίου 


1086 οὐκέτι βροτοῖσι διὰ σ᾽ ἐτήτυμον στόμα. 
ἀλλ᾽ εὐμενὴς ἔκβηθι βαρβάρου χθονὸς 
εἰς τὰς ᾿Αθήνας - καὶ γὰρ ἐνθάδ᾽ οὐ πρέπει 


, ie / »» 5» ze 
ναίειν, παρόν σοι πόλιν ἔχειν εὐδαίμονα. 


ΧΟΡΟΣ. 


ὄρνις, ἃ παρὰ πετρίνας 
1090 πόντου δειράδας, ἁλκυών, 


ἔλεγον οἰκτρὸν ἀείδεις, 


1082-1088. Prayer to the goddess. 
Thereafter Iphigenia herself enters 
the temple. 

1082 f. Our blessed Lady, thou who 
in Aulis’ vales didst save me from 
a father’s fell destroying hand.—ra- 
tpoxtovov: the word taken by itself 
hardly bears analysis for the mean- 
ing required, but we believe never- 
theless that Euripides wrote the line 
exactly as it stands. 

1084 f. ἢ τὸ Λοξίου... στόμα: “else 
must the lips of Phoebus lose their 
truth to mortal men, through thee!” 

1088. εὐδαίμονα : the word is very 
apt in the present connexion, besides 
being a current epithet of Athens, 
‘city of the gods,’ δαιμόνιον πτολίεθρον. 


VI. Seconp Srasrmon, vs. 1089- 


1152. 


The chorus gives voice to regret- 
ful reminiscences of Hellas (first 
strophe), and sad reflections on the 
fate that brought the women as cap- 
tives to their service among the Tau- 


στροφὴ a. 


rians (first antistrophe). They pic- 
ture the prospective happy escape of 
the priestess (second strophe), 
whereas her servants can cherish 
only wish and hope (second an- 
tistrophe). — For the metre, see 
p. 48. 


(First Strophe.) 


1089-1093. As the nightingale — 
the fable of Philomela and Itys — 
appears repeatedly in Greek poetry 
as a type of human sorrow, so here 
the plaintive halcyon is invoked, from 
the legend of Ceyx and Alcyone. In 
epic story, Cleopatra, the wife of Me- 
leager, had borne, when a child, the 
name Alcyone, in remembrance of 
her mother’s sorrows: τὴν δὲ τότ᾽ ἐν 
μεγάροισι πατὴρ καὶ πότνια μήτηρ | "A λ- 
κυόνην καλέεσκον ἐπώνυμον, οὕνεκ᾽ ἄρ' 
αὐτῆς | μήτηρ ἀλκυόνος πολυὺυπεν- 
θέος οἶτον ἔχουσα | κλαῖ᾽, bre μιν ἑκά- 
epyos ἀνήρπασε Φοῖβος ᾿Απόλλων Hom. 
1 561. 

1091. Chantest a plaintive ditty. 


evévverov ξυνετοῖσι βοάν, 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


Ψ , lal SEN Lal 
OTL πόσιν κελαδεῖς ἀεὶ μολπαῖς, 


1095 ἐγώ σοι παραβάλλομαι θρήνους, ἄπτερος ὄρνις, 
ποθοῦσ᾽ “Ἑλλάνων ἀγόρους, ποθοῦσ᾽ [Αρτεμιν ὀλβίαν, 


ἃ παρὰ Κύνθιον ὄχθον οἰκεῖ φοίνικά θ᾽ ἁβροκόμαν 


1100 δάφναν τ᾽ εὐερνέα καὶ γλαυκᾶς θαλλὸν ἱρὸν ἐλαίας, 


Λατοῦς ὠδῖνα φίλαν, λίμναν θ᾽ εἱλίσσουσαν ὕδωρ 


1105 κύκλιον, ἔνθα κύκνος μελῳδὸς Μούσας θεραπεύει. 


1092 f. εὐξύνετον ξυνετοῖσι: right 
well known to knowing ones. Viz. to 
such as know how to sympathize with 
a tale of woe.— ὅτι... μολπαῖς : that 
Ἢ is thy spouse thou singest in tuneful 
strains for aye. The clause depends 
upon εὐξύνετον. --- Alcyone, the wife 
ot Ceyx king of Trachis, was about 
to cast herself into the sea on recog- 
nizing the body of her drowned hus- 
band in the waves, when both were 
transformed into sea-birds (Ovid 
Met. xi. 116). --- κελαδεῖς : κέλαδος ν. 
1129, κελαδεῖν (celebrare). Cf. 
τίνα θεόν, τίν᾽ ἥρωα, τίνα δ᾽ ἄνδρα κε- 
λαδήσομεν; Pind. Ol. ii. 2. 

1094 f. ἐγὼ ... θρήνους : mourning 
to match with thine have I.— Note 
the mid. παραβάλλομαι. --- ἄπτερος ὄρ- 
vis: the ‘limiting’ epithet, to ex- 
plain or justify a metaphor, is most 
common in Aeschylus; cf. δίπους 
λέαινα Ag. 1258 (of Clytaemnestra). 
Naive poesy is wont to be explicit 
on a point like this; cf. ‘Wenn 
ich ein Véglein war’,| Und auch 
zwei Fligel hatt’, | Flog ich zu 
dir.’ 

1096 f. dyopovs: equiv. to ἀγοράς. 
--Ἄρτεμιν ὀλβίαν: Artemis the blest. 
1.6. the Grecian goddess, not Artemis 
of the Taurians. 

1098-1105. The Cynthian 
the palm, the bay, and the 


hill, 
olive 


tree, and the ‘circling mere’ were fa- 
miliar features of the legend of the 
birth of Leto’s children in the isle of 
Delos. Observe the numerous orna- 
mental epithets. 

1102 f. Λατοῦς ὠδῖνα φίλαν : “fond 
stay οἵ Leto’s travail.” ‘Kuripides 
audacius partum Latonae dix- 
isse videtur arborem, cui ob- 
nixa peperit Apollinem et 
Dianam.’ Of. Φοῖβε ἄναξ, ὅτε μέν σε 
θεὰ τέκε πότνια Λητώ, | φοίνικος ῥαδι- 
vis χερσὶν ἐφαψαμένη, | ἀθανάτων κάλ- 
λιστον ἐπὶ τροχοειδέϊ λίμνῃ Theogn. ὃ. 
π- λίμναν... ὕδωρ κύκλιον : and the 
mere that whirls its water circling round. 
ἡ ἐν Δήλῳ ἡ Τροχοειδὴς καλεομένη Hat. 
ii. 170. 

1105. κύκνος μελῳδός : the singing 
swan. Sacred to Apollo and the 
Muses. His voice, we are told, is 
not plaintive like the haleyon’s, but 
sweet and melodious as the flute or 
harp (Oppian),—the clear, ringing 
tone of ‘silver bells” Cf. οὐδέν σ᾽ ἃ 
φόρμιγξ a Φοίβου σύμμολπος 
τόξων ῥύσαιτ᾽ av: | πάραγε πτέρυγας, | 
λίμνας ἐπίβα Δηλιάδος-. | 
αἱμάξεις, εἰ μὴ πείσει, τὰς καλλι- 
φθόγγους ῳφδάς Ton 164, said by 
Jon to a swan that he threatens with 
his bow and arrows. -- τοιάδε κύκνοι 
. +. ξυμμιγῆ βοὴν ὁμοῦ | πτεροῖς κρέ- 
κοντες ἴακχον ᾿Απόλλω Ar. Av. 


τᾶς 





IPHIGENIA AMONG THE TAURIANS. 


ὦ πολλαὶ δακρύων hiBades, 


ἃ ΄ 5 > ὃς 
at παρηΐίδας εἰς ἐμὰς 
» Ἐπ 
ἔπεσον, ἁνίκα πύργων 


155 


ἀντιστροφὴ a’. 


ὀλλυμένων ἐπὶ ναυσὶν ἔβαν 


1110 πολεμίων ἐρετμοῖσι καὶ λόγχαις, 


ζαχρύσου δὲ δι’ ἐμπολᾶς νόστον βάρβαρον ἦλθον, 


ἔνθα tas ἐλαφοκτόνου θεᾶς ἀμφίπολον κόραν 


1115 παῖδ᾽ ᾿Αγαμεμνονίαν Ne βωμούς θ᾽ Aeneas, 


τ ἄταν διὰ παντὸς δυσδαίμον᾽ - ἐν γὰρ ἀνάγκαις 


1120 οὐ κάμνει earn ones ὧν μεταβάλλειν δυσδαιμονίαν" 


τὸ δὲ μετ᾽ εὐτυχίαν κακοῦσθαι θνατοῖς βαρὺς αἰών. 


769. The swan’s song on his dying 
day betokens his Apollinic character, 
acc. to the Platonic Socrates: 

οὐ τοῦ ᾿Απόλλωνος ὄντες μαντι- 
κοί τέ εἰσι καὶ προειδότες τὰ ἐν Atdov 
ἀγαθὰ ἄδουσι καὶ τέρπονται 
τὴν ἡμέραν διαφερόντως Plat. Phaedo 
8ῦ Ὁ. 


«ε fa 
Ol KUKVOL 


> ’ 
ἐκείνην 


(First Antistrophe.) 


1108-1110. πύργων ὀλλυμένων : 
‘when temple and tower| Went to the 
ground’ Milton Sonnet viii. — πολε- 
plov .. . λόγχαις: by foemen’s ours 
and spears constrained, Naming tlie 
instruments of both conquest and 


conveyance. ἐπὶ ναυσὶν ἔβαν is pas- 
sive in sense. Cf. ὁρμεῖ χαλινοῖς Vv. 


1048. 
1111f. And, by exchange for precious 
gold, on a far foreign voyage I came. 
First led captive from their homes 
by the fate of war, and then sold as 
slaves to foreigners. — νόστον βάρβα- 
pov: ἴ.6. νόστον βαρβάρου γῆς. Cf. γῆς 
πατρῴας νόστος (ν. 1006), and note that 
νόστος is not confined to the meaning 
of “return.” 
1113-1115. 


ἔνθα: hither, where. — 


ἐλαφοκτόνου Beds: cf. Δίκτυνν᾽ odpeia 
v. 127. --- λατρεύω: here followed 
by the ace. instead of the regular 
dative. Cf. τίνα πόλιν. λατρεύ- 
es; El. 130.— βωμοὺς λληνοθύτας: 
cf. βωμός, Ἕλλην οὗ καταστάζει φόνος 
v. 72. 

1117-1122. A characteristic moral 
reflection, unmistakable in its tenor, 
although the text is very uncertain. 
The significant antithetic phrases of 
the passage are διὰ παντός (“from first 
to last”) and μετ᾽ εὐτυχίαν (“after 
happy experiences”). — ἐν ἀνάγκαις : 
said, as often, with reference to s/av- 
ery; cf. the Homeric 
(Π 836) opp. to ἐλεύθερον ἦμαρ (ib. 
831), τῆς ἀναγκαίας τύχης (“the lot of 
servitude”) Soph. Aj. 485.— Whilst 
all the time I envy the misery of life- 


ἦμαρ ἀναγκαῖον 


long misfortune: in bondage reared, one 
suffers not by any change to trouble ; 
but, after good times, to dwell in bad isa 
grievous life, Cf. φαντὶ δ᾽ ἔμμεν | τοῦτ᾽ 
ἀνιαρότατον, καλὰ γινώσκοντ᾽ ἀνάγκα | 
ἐκτὺς ἔχειν πόδα Pind, Pyth. iv. 510. 
‘This is truth the poet sings, | That 
a sorrow’s crown of sorrow is remem 


bering happier things. 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENETA. 
Kal σὲ μέν, πότνι᾽, Apyeia στροφὴ β΄. 
πεντηκόντορος οἶκον ἀξει" 
1125 συρίζων δ᾽ ὁ κηροδέτας 
κάλαμος οὐρείου ἸΤανὸς 


κώπαις ἐπιθωΐξει, 


ὁ Φοῖβός θ᾽ ὁ μάντις ἔχων ἑπτατόνου κέλαδον λύρας 


1180 ἀείδων ἄξει λιπαρὰν εὖ σ᾽ ᾿Αθηναίων ἐπὶ γᾶν. 


ἐμὲ δ᾽ αὐτοῦ προλιποῦσα βήσει ῥοθίοισιν πλατᾶν " 


(Second Strophe.) 

1123-1137. An apostrophe ad- 
dressed to Iphigenia. The thought 
of her return to Hellas is suggested 
by force of contrast. 

1123 f. kat: and now. Passing from 
a general reflection to the particular 
events impending (for καὶ νῦν). --- σὲ 
μέν : correlative to ἐμὲ δέ ν. 1132. σέ 
is emphatic also by contrast with what 
has preceded. — πεντηκόντορος : re- 
membering πολυκώπῳ σκάφει ν. 981; 
cf. v. 1347. 

1125-1130. Giving way to the en- 
thusiasm of song, the chorus cele- 
brates the divine auspices that 
must attend on such a voyage as 
this. 

1125-1127. Pan, whose music is 
heard everywhere in wild nature, over 
both land and sea, shall be the κε- 
λευστής to set the oar-stroke. — συρί- 
ἴων: piping. σῦριγξ, “Panspipe.” — 
κηροδέτας κάλαμος: cf Pan pri- 
mus calamos cera coniun- 
gere pluris | instituilt Verg. 
Ecl. ii. 32. — otpetov: cf. vs. 127, 162, 
634. — émbwiter: will cheer on. The 
verb suits the character of the god, 
suggesting the shouts of hunters to 
their dogs ; cf. ἔραμαι κυσὶ θωύΐξαι Hipp. 
219. In Athenian triremes a flute- 
player (rpinpavAns) gave the time for 
the oars. 


1128-1131. ὁ μάντις: said in a 
very different tone from y. 711. 
The prophet of an ancient expe- 
dition stood high in dignity and 
importance, as for example Mopsus 
among the Argonauts (Pind. Pyth. 
iv. 338 ff.). Here the god himself 
who devised the sacred mission will 
conduct it to a prosperous end.— 
ἔχων . .. ἀείδων : singing as he holds 
the seven-stringed clanging lyre. Of. 
φόρμιγγος περικάλλεος, ἣν ἔχ᾽ ᾿Απόλ- 
λων Hom. A 603. ἀείδων is the main 
participle, answering to συρίζων y. 
1125. — κέλαδον λύρας: poetically 
for the lyre itself; ef: νεὼς πίτυλος ν. 
1050. — ev: happily. Of a prosperous 
voyage (καλὸς πλοῦς): cf. εὖ μὲν Mup- 
μιδόνας pao ἐλθέμεν ἐγχεσιμώρους.... 
εὖ δὲ Φιλοκτήτην, Ποιάντιον ἀγλαὸν 
υἱόν Hom. γ 188.—Aurapav: niti- 
dam, “bright and fair,” a favorite 
epith. of the City. Cf. λιπαραῖσί τ᾽ ἐν 
ὀλβίαις ᾿Αθάναις Alc. 452. Best known 
from Pindar’s celebrated fragment: 
ὦ ταὶ λιπαραὶ καὶ ἰοστέφανοι καὶ ἀοίδιμοι, 
Ἑλλάδος ἔρεισμα, κλειναὶ ᾿Αθᾶναι, δαι- 
μόνιον πτολίεθρον. 

1192. ἐμὲ δ᾽ αὐτοῦ προλιποῦσα: 
leaving me behind. πρό in comp. and 
αὐτοῦ have a similar force; for the 
latter see on y. 974.— ῥοθίοισιν πλα- 
τᾶν : with many a plash of var-blades. 
The dat. as in y. 1110. 





IPHIGENIA AMONG THE TAURIANS. 


157 


3 na ἐ 
1135 ἀέρι δ᾽ ἱστία δὴ κατὰ πρῴραν ὑπὲρ στόλον ἐκπετά- 


’,’ 
σουσι πόδες 


Ν ϑ ἊΨ 
VQAOS ὠκυπομπου. 


λαμπρὸν ἱππόδρομον βαίην 


ἀντιστροφὴ β΄. 


’΄ > ΓΟ) » al 
ἔνθ᾽ εὐάλιον ἔρχεται πῦρ' 


1140 οἰκείων 8 ὑπὲρ θαλάμων 


πτέρυγας ἐν νώτοις ἀμοῖς 


λήξαιμι θοάζουσα: 


χοροῖς δὲ σταίην, ὅθι καὶ παρθένος εὐδοκίμων γάμων 


1145 παρὰ πόδ᾽ εἱλίσσουσα φίλας ματρὸς ἡλίκων θιάσους 


ἐς ἁμίλλας χαρίτων, χαίτας αὖτ᾽ ἁβροπλούτου 7 ἔριν 


1160 ὀρνυμένα, πολυποίκιλα φάρεα ταῖς γένυσιν περιβαλ- 


λομένα 
5 iS. 5» ’,΄ 
οὐκέτ᾽ ἐσκίαζον. 


1134 ff. Graphic enumeration of 
characteristic features of the vessel 
seen under sail. Note the galloping 
dactyls.— kata mpwpav ὑπὲρ στόλον : 
“forward above beam.” — πόδες : 
“sheet-lines,’ attached to the lower 
extremities of the sail and governing 
it.—vads ὠκυπόμπου: the strophe 
leaves behind it a vision of the “swift- 
sped bark,” impelled by wind and oar 


ἄξεινον κατὰ πόντον. 


(Second Antistrophe. ) 


1138-1151. A similar wish to that 
at the close of the first stasimon (vs. 
452 ff.). Here, reminiscences of the 
dance, as there of song. 

1138 f. By the bright track would I 
might yo, where the Sun wheels in goodly 
fire. Cf. vs. 192 ff., Jon 82 (quoted on 
p. 42). 


1140-1142. Not an ἄπτερος ὄρνις 
now. — ἀμοῖς: cf. v. 149. --- πτέρυγας 
λήξαιμι θοάζουσα: the thought is of 
alighting, after a ‘home flight.’ 

1143 ff. “ There in dances might I 
take my place, where erst, a maiden 
for noble nuptials meet, whirling my 
foot by a fond mother’s side, glad 
bands of youthful mates I stirred to 
rivalry of charms and vying wealth 
of hair luxuriant, whilst gay-hued 
veils around these cheeks I flung, no 
more in sadness shrouded,”’ 

The text is a more than Terpsi- 
chorean maze. The last: three lines 
are here printed from Dr. J. UH. 
Heinrich Schmidt (Aunstformen III. 
ecexxxy.), and the paraphrase is in- 
tended to suit his probable idea of 
the sense. We can at least be sure 
that there was dactyls and danc- 
ing. 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


@OOAS. 


ποῦ ᾽σθ᾽ ἡ πυλωρὸς τῶνδε δωμάτων γυνὴ 


Ῥλληνίς; ἤδη τῶν ξένων κατήρξατο, 
1155 ἀδύτοις τ᾽ ἐν ἁγνοῖς σῶμα λάμπονται πυρί; 


ΧΟΡΟΣ. 


ν 9 5 , ν ΄, 5 » 5 A an 
70 ἐστιν, Ἢ σὸν TOVT , ἀναξ, ἐρει σαφῶς. 


ΘΟΑΣ. 


»Ἤ 
εα" 


τί τόδε μεταίρεις ἐξ ἀκινήτων βάθρων, 


᾿Αγαμέμνονος παῖ, θεᾶς ἄγαλμ᾽ ἐν ὠλέναις ; 


ΙΦΙΓΕΝΕΙΑ. 


᾿» ἕ yy 3. 5 “ “ὃ Ν 3 , 
avac, EX αὐτου TOOd σον ἐν παραστασιν. 


ΘΟΑΣ. 


» »Y 5 / 
1160 τί δ᾽ ἔστιν, ᾿Ιφιγένεια, καινὸν ἐν δόμοις; 


IPITENEIA. 


5 Ψ 5 f ε », Ν δίὸὃ 3 ᾿Ξ, “ὃ 
QATETTVUO οσιᾳ γὰρ LOW επος TOOE, 


VII. Tuirp Eprersopion, vs. 1159-- 
1233. 

The king enters with attendants. 
See vs. 1080 f. He addresses his in- 
quiry to the coryphaeus. 

1153-1155. πυλωρός : see ony. 151. 
Thoas will assure himself of the due 
and complete observance of the rite: 
first the initiatory consecration (κατήρ- 
taro, cf. vs. 40, 622), then the immo- 
lation and cremation (πυρί, cf. v. 
626). 

1157. ἔα: exclamation of surprise, 
as Iphigenia enters from the temple 
bearing the image of the goddess. — 
τόδε: deictic or local, as constantly. 
“Why thus?” —daxwytev: inviolable. 
κινεῖν is used often of meddling with 
what ought not to be touched. 


1159. Sire, stay thy foot where thou 
standest, at the pillared vestibule. This 
is uttered with great solemnity. — 
αὐτοῦ: cf. vs. 974, 1152. --- ἐν παρα- 
στάσιν: παραστάδες, pillars at the en- 
trance of palace or temple, thus desig- 
nating the entrance-way. Cf. νὺξ ἦν, 
᾿Αδράστου δ᾽ ἦλθον εἰς παραστάδας 
Phoen. 415. 

1161. ἀπέπτυσα : “Deliver us!” A 
formula of pious abhorrence, which 
was originally expressed by the act 
ἀποπτύσαι itself.—doia κτλ.: to holi- 
ness I devote the word. 7.6. she utters 
the exclamation for the sake of holi- 
ness. Cf. ὁσίας ἕκατι v. 1461. 
is a noun; personified, Ὁ σία, πότνα 
θεῶν Bacch. 870.— γάρ: refers to the 
exclamation, as often; cf. v. 808. 


ὁσία 





IPHIGENTA AMONG THE TAURIANS. 


159 


ΘΟΑΣ. 


τί φροιμιάζει νεοχμόν; ἐξαύδα σαφῶς. 


ΙΦΙΓΕΝΕΙΑ. 


οὐ καθαρά μοι τὰ θύματ᾽ ἠγρεύσασθ᾽, ἀναξ, 


ΘΟΑΣ. 


tt τοὐκδιδάξαν τοῦτό σ᾽ 


ἢ δόξαν λέγεις; 


ifITENEIA. 


1165 βρέτας τὸ τῆς θεοῦ πάλιν ἕδρας ἀπεστράφη. 


ΘΟΑΣ. 


a ὅς » Ν ¥ , 
αυτόματον, 7) νιν σεισμος ἐστρεψε χθονός; 


IPITENEIA. 


: 9 4 »” > 5 ’, ἣν» 
αὐτόματον - ὄψιν δ᾽ ὀμμάτων ξυνήρμοσεν. 


ΘΟΑΣ. 


ε δ᾽ > 7 , hoes an ΄ , 
7) αιτια TLS; ) TO τῶν ξένων μυσος; 


IPITENEIA. 


ἥδ᾽, οὐδὲν ἄλλο δεινὰ yap δεδράκατον. 


ΘΟΑΣ. 


1170 ἀλλ᾽ ἢ τιν᾽ ἔκανον βαρβάρων ἀκτῆς ἔπι; 


1162 f. rl... νεοχμόν: “ What 
means this novel prelude to your 
words?” φροιμιάζεσθαι, φροίμιον, mpo- 
οίμιον. ---οὐ καθαρά: note the pred. 
position, and cf. v. 1171. —Hypevoacbe: 
not the pl. for the sing., but mean- 
ing Thoas and his men who did the 
catching. 

1164. The king calls for the proofs, 
if there are any.— τὸ ἐκδιδάξαν : opp. 
to δόξαν, (“ mere opinion’’). — τοῦτο : 
obj. of ἐκδιδάξαν, --- ἤτ see on v. 503. 
Again in ν. 1168. 

1165. πάλιν ἕδρας : gen. of sepa- 


ration; but we should say “turned 
around in its place.” 

1168. Thoas had a scientific expla- 
nation to suggest for the first miracle 
(σεισμὺς χθονός ν. 1166), but the sec- 
ond one is too much for him. Both 
prodigies are of a sort frequently 
observed by the ancients, and recorded 
in history as well as in poetry. 

1170. ἀλλ’ τ : ἀλλά, because the 
idea had not occurred to him before, 
Thoas had heard only a hurried ac- 
count of the fray ἀκτῆς ἔπι. See v. 


‘ " / 
334 (ὕσον rdxos). 


160 


EYPITIIAOY I@ITENEIA. 


IPITENEIA. 


Aan > N , , 
οἰκεῖον ἦλθον τὸν φόνον κεκτημένοι. 


ΘΟΑΣ. 


’ 


τίν᾽; εἰς ἔρον yap Tov μαθεῖν πεπτώκαμεν. 


IPITENEIA. 


μητέρα κατιοι)γάσαντο κοινωνῷ ξίφει. 


ΘΟΑΣ. 


ἼΛπολλον, οὐδ᾽ ἐν βαρβάροις ἔτλη τις ἄν. 


ISITENEIA. 


1175 πάσης διωγμοῖς ἠλάθησαν “Ἑλλάδος. ᾿ 


ΘΟΑΣ. 


ἢ τῶνδ᾽ ἕκατι δῆτ᾽ ἀγαλμ᾽ ἔξω φέρεις; 


IPITENEIA. 


, 3 ε > 5 ome) ε » ’ 
σεμνόν γ᾽ ὑπ᾽ αἰθέρ᾽, ὡς μεταστήσω φόνου. 


ΘΟΑΣ. 


’, δ᾽ » ω “Ὁ ἕέν ta T , @: 
μιασμα eyv S TOW OW ποιῳ poTme ; 


IPITENEIA. 


ἤλεγχον, as θεᾶς βρέτας ἀπεστράφη πάλιν. 


ΘΟΑΣ. 


1180 σοφήν σ᾽ ἔθρεψεν Ἑλλάς, ὡς ἤσθου καλῶς. 


1171. οἰκεῖον : opp. to βαρβάρων v. 
1170. “They have brought their 
bloodguiltiness with them from their 
home.” —7T)®ov κεκτημένοι: cf. ἥκει 
φέρουσα Vv. 42, also vs. 258, 1033. 

1172-1175. εἰς ἔρον... πεπτώκα- 
μεν: Thoas’ curiosity is excited. —Kar- 
εἰργάσαντο: Euphemis- 
tic; cf. κατέργασαι... ἐμὸν παῖδα Hipp. 


despatched. 


888, said in prayer to Poseidon.— ἔτλη 
τις av: the ellipse of an object, or an 
infinitive, is apt here.—amdons .. . 
“EdAddos: sympathetic with the feel- 
ing shown by the king, and tending to 
account for the coming of the men. 

1180. σοφὴν... ‘“HAAds: see p. 21. 
— ὡς : equiv. to ὅτι οὕτως. See GMT. 
580 (fourth example). 





IPHIGENIA AMONG THE TAURIANS. 


161 


IPITENEIA. 


καὶ νῦν καθεῖσαν δέλεαρ ἡδύ μοι φρενῶν. 


ΘΌΑΣ. 


τῶν ᾿Αργόθεν τι φίλτρον ἀγγέλλοντέ σοι; 


IPITENEIA. 


4 A 
Tov μόνον ᾿Ορέστην ἐμὸν ἀδελφὸν εὐτυχεῖν. 


ΘΟΑΣ. 


ὡς δή σφε σώσαις ἡδοναῖς ἀγγελμάτων. 


IPITENEIA. 


1185 καὶ πατέρα ye ζῆν Kal καλῶς πράσσειν ἐμόν. 


ΘΟΑΣ. 


\ > > \ A θ A > 387 See) 
συ εις ΤΟ τὴς ὕεου iY, ἐξένευσας εικοτως. 


ΙΦΙΓΕΝΕΙΑ. 


πᾶσάν γε μισοῦσ᾽ “Ἑλλάδ᾽, ἥ μ᾽ ἀπώλεσει. 


ΘΟΑΣ. 


τί δῆτα δρῶμεν, φράζε, τοῖν ξένοιν πέρι; 


1181. And now they dropped a bait 
tempting to my thoughts. — φρενῶν : obj. 
gen. with δέλεαρ. For the word itself, 
cf. v. 815. 

1182. Offering you some sort of tid- 
ings from Argos as a lure? — φίλτρον : 
answers exactly to δέλεαρ. For the 
proper signification of the word, cf. 
φίλτρα. . . θελκτήρια ἔρωτος Hipp. 
509, referred to again as φάρμακον. 
Figuratively, as here, very often in 
Euripides. 

1183. Ail this seems like treading 
on dangerous ground. Not only, how- 
ever, did the poet well understand 
what his andience would most enjoy 
in a scene like this, but it is also 


thoroughly dramatic. Iphigenia was 
σοφή, and she knew that the sarest 
way of guarding against hazecdous 
inferences and surmises is to fuestall 
them. 

1184. δή: of course; cf. ν. 1025.— 
ἡδοναῖς ἀγγελμάτων : “in peturn for 
the pleasant news.” Causal dative. 

1186. “But you me.iaed to the 
side of the goddess, naturally.” — 
ἐξένευσας : from ἐκνεύειν, not ἐκνεῖν, 
in spite of δέλεαρ (vy. 1181), which is 
forgotten by this time. 

1187. The moxive alleged by Iphi- 
genia would seem ample to the king, 
esp. when given im addition to that of 
loyalty to the goddess who saved her 


162 ΕΥ̓ΡΙΠΙΔΟΥ 


IPITENEIA. 


IPITENEIA. 


τὸν νόμον ἀνάγκη τὸν προκείμενον σέβειν. 


ΘΟΑΣ. 


1190 οὔκουν ἐν ἔργῳ χέρνιβες ξίφος τε σόν; 


ΙΦΙΓΕΝΕΙΑ. 


ἁγνοῖς καθαρμοῖς πρῶτά νιν νίψαι θέλω. 


ΘΟΑΣ. 


A ε WA «ἡ Ψ 4 
πηγαῖσιν ὑδάτων 7) θαλασσίᾳ δρόσῳ; 


« 


IPITENEIA. 


, , ’ 5 4 , 
θάλασσα κλύζει πάντα τανθρώπων Kaka. 


ΘΟΑΣ. 


ὁσιώτερον γοῦν τῇ θεῷ πέσοιεν av. 


ΙΦΙΓΕΝΕΙΑ. 


1195 καὶ τάμά γ᾽ οὕτω μᾶλλον ἂν καλῶς ἔχοι. 


ΘΟΑΣ. 


¥ x 31% Ν 5 ΄ “ὃ 
ουκουν προς QUTOV VQOV εκΚπιπτει KAU ων; 


life (τὸ τῆς θεοῦ). Cf. what she says to 
Orestes himself, οὐχὶ τοῖς κτανοῦσί με 
θυμουμένη (v. 992); also vs. 337 ff. 
1189. προκείμενον : prescribed; ef. 
προυθέμην Vv. 1225, and see on v. 620. 
1192. πηγαῖσιν : is seen to denote 
Jresh water, of fount or stream; ef. 
καλλιρρόου | ἔψαυσα πηγῆς Aesch. Pers. 
201, for purification after a bad dream. 
-- θαλασσίᾳ δρόσῳ: cf. ἐναλία δρόσῳ 
v. 255. δρόσος is a favorite word in 
Greek poetry; cf. v. 448, Jon 96. 
1193. The line has the sound of a 
proverb. Sea-water was believed to 
possess high efficacy for purposes of 
lustration. 
1194. “There will be more sanc- 


tity, at any rate, in offering them up 
to the goddess.” — Personally, ‘Thoas 
would like them offered up first and 
purified afterwards. — ὁσιώτερον : ad- 
verb. 

1195. τἀμά: Thoas understands 
“my duty as priestess,” the specta- 
tor “my plan of escape.” This is 
the first of a series of similar equi- 
vokes at the expense of the barba- 
rian, unless v. 1193 be regarded as 
containing one. 

1196. αὐτόν: see on v. 969. — ἐκ- 
πίπτει: see on v. 1042.—Thoas at 
once suggests the nearest salt water, 
as did Orestes. ‘That the Taurian 
temple stood upon the shore was 


συ 


IPHIGENIA AMONG THE TAURIANS. 163 


IPITENEIA. 


ἐρημΐας det: καὶ yap ἄλλα δράσομεν. 


ΘΟΑΣ. - 


ay ἔνθα χρήζεις - οὐ φιλῶ τἀρρηθ᾽ ὁρᾶν. 


IPITENEIA. 


ε ’ὔ Ν Ν “A Lal , 
ἁγνιστέον μοι καὶ τὸ τῆς θεοῦ βρέτας. 


ΘΟΑΣ. 


1200 εἴπερ γε κηλὶς ἔβαλέ νιν μητροκτόνος. 


IPITENEIA. 


ov yap ποτ᾽ av vw ἠράμην βάθρων amo. 


ΘΟΑΣ. 


δίκαιος ηὑσέβεια καὶ προμηθία. 


IPITENEIA. 


> , “ ΄ 
οἷσ θά νυν α μοι γενέσθω; 


ΘΟΑΣ. 


doubtless a received fact, but Eu- 
ripides avails himself of the cireum- 
stance to augment the hazard and 
cleverness of the scene. 

1197. ἄλλα δράσομεν : equivocal. 

1198. τἄρρηθ᾽ : τὰ ἄρρητα (myste- 
ries); cf. ἀπόρρητον φλόγα ν. 1331. 

1200. Certainly, if it has really 
cought the stain of matricide. —Thoas 
is by no means dull, only a trifle 
δεισιδαιμονέστερος. 

1201. Cf Iphigenia’s answer to 
Orestes in v. 740. Also vs. 666 f. 

1202. δίκαιος : right. For the form, 
see THI. 2252; cf. θαλασσίους ν. 256. 
- ηὐσέβεια : ἡ εὐσέβεια. The article 


Ἂν Ν ’ , 
σὸν τὸ σημαίνειν τόδε. 


belongs to the combined idea of both 
nouns, and has, to us, a possessive 
force. 

From these words of hearty ap- 
proval the king is seen to be well 
won over to the religious exigency 
feigned by the priestess. A new stage 
in the progress of the plot is marked 
by the change of rhythm following. 
See Introd. p. 40, 

1203. ἅ μοι γενέσθω : what 7 must 
have done for me. For the const., see 
GMT. 253, H. 875. Cf. v. 759, where, 
however, there is nothing irregular 
or idiomatic as here. —oov: σὸν ἔργον, 
cf. ν. 1079. 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


IPITENEIA. 


δεσμὰ τοῖς ξένοισι πρόσθες. 


ΘΟΑΣ. 


ἴω ’ὔὕ " 5 4 x 
ποι δέσ ἐκφύγοιεν av ; 


IPITENEIA. 


πιστὸν Ἑλλὰς οἷδεν οὐδέν. 


ΘΟΑΣ. 


1205 


» 5 >. N 4 4 
iT ἐπὶ δεσμά, πρόσπολοι. 


ΙΦΙΓΕΝΕΙΑ. 


κἀκκομιζόντων δὲ δεῦρο τοὺς ἕένους, 


ΘΟΑΣ. 


» , 
εσται τάδε. 


ΙΦΙΓΕΝΕΙΑ. 


κρᾶτα κρύψαντες πέπλοισιν. 


ΘΟΑΣ. 


ἡλίου πρόσθεν φλογός. 


ISITENEIA. 


“ 3 lal 
σῶν TE μοι σύμπεμπ᾽ ὀπαδῶν. 


ΘΟΑΣ. 


1205. πιστὸν... οὐδέν : 1.6. “be not 
over confident; a barbarian can never 
be sure of a Greek.” 

1206 f. kal... δέ: see H. 1042 
(lastexample).— ἐκκομιζόντων : imv.; 
const. κρύψαντες with its subj. Ge πρόσ- 
πολοι). --- Here certain of the attend- 
ants withdraw to execute the orders 
given. — ἡλίου πρόσθεν φλογός: the 
king comprehends at once, — the Sun- 


νς» ε ’ ’ 
οἵδ᾽ ὁμαρτήσουσί σοι. 


god must be shielded from the sight 
of pollution. Cf. vs. 192-195 ; τὴν γοῦν 
πάντα βόσκουσαν φλόγα | αἰδεῖσθ' 
ἄνακτος Ἡλίου, | τοιόνδ᾽ ἄγος | 
ἀκάλυπτον οὕτω δεικνύναι Soph. Oed. 
Tyr. 1425.— Here, the veiling would 
have its convenience for the plot also. 
1208. ὀπαδῶν: part. gen. with the 
verb. — οἵδε: visibly indicating those 
who are to accompany Iphigenia. 


EO τὰδδὴι 


IPHIGENIA AMONG THE TAURIANS. 165 


IPITENEIA. 


ἃ 4 ? > 4 ΄“ 
καὶ πόλει πέμψον τιν᾽ ὅστις σημανεῖ 


ΘΟΑΣ. 


ποίας τύχας; 


ΙΦΙΓΕΝΕΊΙΑ. 


4 ν 
ἐν δόμοις μίμνειν ἅπαντας. 


ΘΟΑΣ. 


=) 


\ A , 
μὴ συναντῴεν φόνῳ; 


IPITENEIA. 


υσαρὰ yap Ta τοιάδ᾽ ἐστὶ. 
μυσαρὰ γὰρ 


ΘΟΑΣ. 


A τὶ 
στεῖχε καὶ σήμαινε σύ. 


IPITENEIA. 


μηδέν᾽ εἰς ὄψιν πελάζειν. 


ΘΟΑΣ. 


> , , 
εὖ ye κηδεύεις πόλιν. 


IPITENEIA. 


καὶ φίλων γ᾽ ovs δεῖ μάλιστα. 


ΘΟΑΣ. 


1209f. πόλει : emphatically placed, 
as opp. to ἡλίου v. 1207. Const. with 
σημανεῖ. --- ποίας τύχας : the priestess 
does not mean to speak of any emer- 
gency, as the king would have seen, if 
he could have waited till she finished 
the order. —plyve: const. with ση- 
μανεῖ, --- μὴ συναντῴεν : final clause ; 
the opt., to suit the past tense in the 
mind of the questioner (86. τοῦτ᾽ 
ἔλεξας, cf. v. 1213). 

1211 f. στεῖχε... σύ: another man 
is sent off to promulgate the order 


as ¥ > 3 ’, 
τοῦτ᾽ ἔλεξας εἰς ἐμέ. 


ἐν δόμοις μίμνειν ἅπαντας. --- σήμαινε: 
adapted to σημανεῖ v. 1209. --- μηδένα 

.. πελάζειν : const. with μυσαρά ἐστι, 
which, being a negative idea, pro- ἡ 
duces the neg. μηδένα (G. 1615, H. 
1029). ‘ Forbidding all approach in 
sight of them.” 

1212 f. εὖ ye: has exclamatory 
force (Right handsomely !).—nal... 
μάλιστα: Ay, and for the friends who 
best deserve! —Qwv: part. gen. Se, 
τούτους κηδεύω. --- οὕς Set: sc. κηδεύειν 
με. ---- εἰς ἐμέ: “meaning me.” The 


166 


1218 


ΒΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 


ΙΦΙΓΈΝΕΙΔ. 
εἰκότως. 
ΘΟΑΣ. 


ε 5 le A ’, ’ 
ὡς εἰκότως σε πᾶσα θαυμάζει πόλις. 
ἸΦΙΓΈΝΕΙΑ. 
Ν Ν , 5 los Ἀ lal A ~~ 
σὺ δὲ μένων αὐτοῦ πρὸ ναῶν τῇ θεῷ 
ΘΟΑΣ. 


τί χρῆμα δρῶ; 


ΙΦΙΓΈΝΕΙΑ. 
Ψ A , 
ayvicov πυρσῷ μέλαθρον. 

ΘΟΑΣ. 

καθαρὸν ὡς μόλῃς πάλιν; 
ἸΦΙΓΈΝΕΙΑ. 

ε ΑΕ. a 3 » “ ε , 
ἡνίκ᾽ ἂν δ᾽ ἔξω περῶσιν οἱ ξένοι, 

ΘΟΑΣ. 


τί χρή υε δρᾶν; 


ἸΦΙΓΈΝΕΙΑ. 
,. 5 , ΄, 
πέπλον ὀμμάτων προθέσθαι. 
ΘΟΑΣ. 


μὴ παλαμναῖον λάβω; 
ΙΦΙΓΕΝΈΙΑ. 


nv δ᾽ ἄγαν δοκῶ χρονίζειν, 


ΘΟΑΣ. 
AQ? Ψ , 5 ’ 
τοῦδ᾽ ὅρος τίς ἐστί μοι; 


king’s comment attests his high appre- 
ciation of the personal regard for him- 
self which Iphigenia’s words convey. 
She really means Orestes and Pylades, 
and does not come to the king in 
particular until σὺ δέ v. 1215.— 
Possibly we have here the germ of 
Goethe’s Thoas? ‘Great oaks from 
little acorns grow!’ 

1215 1. θεῷ: const. with ἅγνισον 


... “eAafpov. —Such fumigation was 
performed with the aid of sulphur, as 
in Odysseus’ hall, after the slaughter 
of the suitors; cf. Hom. y 493 f.— 
καθαρόν: pred.; sc. μέλαθρον (acc. of 
limit of motion). “That it may be 
pure at your return?” 

1218. παλαμναῖον : is perhaps neut. 
here. “Contamination of murder.” 

1219 f. ὅρος : criterion. The king 


IPHIGENIA AMONG THE TAURIANS. 167 
ἸΦΙΓΈΝΕΙΑ. 
1220 θαυμάσῃς μηδέν. 
ΘΟΑΣ. 


; x an wn nw > 5 ἈΝ nr Lol 
τὰ τῆς θεοῦ πρᾶσσ᾽ ἐπὶ σχολῆς καλῶς. 


IPITENEIA. 


εἰ yap ὡς θέλω καθαρμὸς ὅδε" πέσοι. 


ΘΟΑΣ. 


συνεύχομαι. 


IPITENEIA. 


τούσδ᾽ ap ἐκβαίνοντας ἤδη δωμάτων ὁρῶ ξένους 


\ “A / , 3. ΓΞ» ε ’,΄ LZ, 
καὶ θεᾶς κόσμους νεογνούς τ᾽ ἄρνας, ws φόνῳ φόνον 


μυσαρὸν ἐκνίψω, σέλας τε λαμπάδων τά τ᾽ ἀλλ᾽ ὅσα 


1225 προυθέμην ἐγὼ ἕένοισι καὶ θεᾷ καθάρσια. 


> Ν > > lal , AQ? »¥ , 
ἐκποδὼν δ᾽ αὐδῶ πολίταις τοῦδ᾽ ἔχειν μιάσματος, 


εἴ τις 7) ναῶν πυλωρὸς χεῖρας ἁγνεύει θεοῖς 


ΕΣ , 4 , x» ’ 4 
ἢ γάμον στείχει συνάψων ἢ τόκοις βαρύνεται, 


4 > > 4 / ’ 4 ’ 
φεύγετ ἐξίστασθε, μὴ τῳ προσπέεση μυσος τόδε. 


asks how he is to determine what is 
a long time and what is not. A mo- 
ment’s reflection, however, shows him 
that he cannot expect to be informed 
with exactness as to a solemn rite; 
hence his next words τὰ τῆς θεοῦ κτλ. 
(“ake your time for the goddess’ 
work.”) Cf. his remark οὐ φιλῶ τἄρρηθ᾽ 
épiv v. 1198. 

1221. Iphigenia’s wish is equivo- 
cal in tenor, and Thoas’ συνεύχομαι 
would be taken as a favorable omen. 

1222 ff. Thoas covers his face, as 
the sacred procession comes forth 
from the temple and passes off the 
scene,—the prisoners 4150 with 
muffled heads. Cf. vs. 1207, 1218. 

1222-1225. dpa: introduces some- 
thing that has been expected or prom- 
ised. — θεᾶς κόσμους : the robes, orna- 


ments, and other sacred appurtenances 
of the idol would need purification, 
and, besides, they ought not to be left 
behind in transporting it to Greece. 
The ξόανα had wardrobes extensive 
and elaborate in proportion to their 
own antiquity. —veoyvous . . . ἐκνίψω : 
so in Aeschylus the purification has 
to be effected by means of the blood 
νεοθήλου βοτοῦ Eum, 450; — ὅσα πρου- 
θέμην ἐγὼ... καθάρσια: prescribed 
by me for cleansing guests and goddess. 

1226-1229. The warning of v. 1210 
is repeated in detail, with an enumer- 
ation of such persons as might have 
especial occasion to be approaching 
the temple.—éxmoSdv ἔχειν : to hold 
aloof. Cf. ἐξίστασθε below. — χεῖρας 
ἁγνεύει θεοῖς : ‘is consecrate to holy 
services.” χεῖρας, acc. of specifica- 


168 


EYPIIIAOY I®ITENEIA. 


1230 ὦ Διὸς Λητοῦς τ᾽ ἄνασσα tapber’, ἣν νίψω φόνον 


A Ν , “Ὁ ΄ Ν 5 ΄ (2 
τῶνδε και θύσωμεν ου XP” καθαρὸν οἰκήσεις δόμον, 


εὐτυχεῖς δ᾽ ἡμεῖς ἐσόμεθα. τάλλα δ᾽ οὐ λέγουσ᾽ ὅμως 


“A Ν 4 3 > 4 A fd ’ γι 
τοῖς τὰ πλείον᾽ εἰδόσιν θεοῖς σοί τε σημαίνω, θεά. 


ΧΟΡΟΣ. 


Μ ε a 4 
εὐπαις Ο Aatous γόνος, 


στροφη. 


1235 ov ποτε Δηλιάσιν καρποφόροις γυάλοις 


γέννησε χρυσοκόμαν, 


3 , Ν “- 3 ἔν τὰς , 5 ’ , : 
εν κιθάρᾳ σοφὸν ᾳ Τὰ (Sept τόξων ενστοχιᾳ γανυται" 


φέρε δ᾽ iw 


tion. ἁγνεύει 15 a poetic brachylogy for 
ἁγνὸς dy ἔρχεται, as βαρύνεται below is 
for στείχει βαρυνομένη. 
the sense of ἁγνίζειν is found in Anti- 
Ὁ phon, but it is not so used here. — 
θεοῖς : dat. of reference. 

1230 ff. After her prayer Iphigenia 
follows the train out, and Thoas en- 
ters the temple. Her words are equiv- 
ocal, being uttered in the hearing of 
the king (see p.21). — ἡμεῖς : 7 myself. 


ayveve in 


Emphasized as antithetic to the subj. 


of oixnoes. — ὅμως : for the position, 
see GMT. 859 (fifth example), H. 
979 Ὁ. -- τὰ πλείονα : the article is 
idiomatic. ‘‘More than is said” is 
the meaning; we should say “the 
whole.” — For the concluding words 
here, cj. the end of Clytemnestra’s 
impious prayer to Apollo: τὰ δ᾽ ἄλλα 
πάντα Kal σιωπώσης ἐμοῦ | ἐπαξιῶ σε 
δαίμον᾽ ὄντ᾽ ἐξειδέναι Soph. El. 657. 


VIII. ΤΉΙΒΙ ΚΤΑΒΙΜΟΝ, vs. 1294-- 
1282. 


The chorus is not at liberty to sing 
of the impending action of the drama, 
but turns its reflections upon the god 


whose command has led to the happy 
events already witnessed. Apollo’s 
occupation of the Delphian oracle is 
the theme of the strophe, the confir- 
mation of his authority against the 
dispossessed Themis that of the an- 
tistrophe. See Introd. p. 33, and 
for the metre ib. p. 49. 


(Strophe.) 


1234. A glorious child the son of Leto 
born. — εὔπαις : here of the offspring 
and not the parent; cf. παιᾶνα μὲν An- 
Aiddes | ὑμνοῦσ᾽ ἀμφὶ πυρὰς Tov | Λατοῦς 
εὔπαιδα γόνον | εἱλίσσουσαι καλλί- 
χορον Herc. Fur. 687, ἃ κατὰ χθονὸς 
νερτέρων Περσέφασσα καλλίπαις θεά 
Or. 905 (Proserpina not mother, but 
daughter par excellence, κόρη Δήμητρος, 
‘Cora’), — γόνος : strictly not a word 
of concrete signification, though this 
cannot be adequately shown in trans- 
lating. Hence it may designate 
daughter as well as son; cf. σεμνὸν 
γόνον ὀλβίζουσα Λατοῦς, | Αρτεμιν 
ἀπειρολεχῆ Ar. Thesm. 116. 

1238 f. ἐν κιθάρᾳ. .. γάνυται : 
skilled with the lute and that true aiming 


Ὕ Ὑ a a ee 


— a ea 


IPHIGENIA AMONG THE TAURIANS. 169 


1240 ἀπὸ δειράδος εἰναλίας, 
λοχεῖα κλεινὰ λιποῦσ᾽, 


> , 9 > eas Ν , 
QAOTQAKTWV μᾶτερ εις ὑδάτων, ταν βακχεύουσαν Διο- 


νύσῳ 
Παρνάσιον κορυφάν, 


1245 ὅθι ποικιλόνωτος οἰνωπὸς δράκων 


σκιερᾷ κατάχαλκος εὐφύλλῳ δάφνᾳ, 


γᾶς πελώριον τέρας, ἄμφεπεν εὖ 


μαντεῖον κλεινὸν χθόνιον. 


σὺ δέ νιν ἔτι βρέφος, ἔτι φίλας ἐπὶ ματέρος ἀγκά- 


1250 λαισι θρώσκων 


ἔκανες, ὦ Φοῖβε, μαντείων δ᾽ ἐπέβας ζαχρύσων, 


of the bow wherein he takes delight. Const. 
σοφὸν ev κιθάρᾳ τῇ τε τόξων εὐστοχίᾳ 
ἐφ᾽ i γάνυται. See on v.979. Cf. the 
words of the god himself: εἴη μοι κίθα- 
pis τε φίλη καὶ κάμπυλα τόξα, | 
χρήσω δ᾽ ἀνθρώποισι Διὸς νημερτέα βου- 
λήν Hom. hy. i. 131. 

1239-1244. Leto conveys her child 
from Delos to the Delphian Parnas- 
sus. —lyww: ivis- υἱὸς νέος (Hesychius). 
--δειράδος εἰναλίας : 1.6. Delos itself, 
“rocky isle of the sea.” Cf. λιπὼν δὲ 
λίμνην AnAtav te χοιράδα Aesch. 
Eum. 9.—doxeia κλεινά: the famed 
place of birth; praised by the chorus in 
vs. 1098 ff.—doraxtov ... ὑδάτων : to 
the mother of welling waters. The sacred 
hill, with its abundant streams, among 
them the Castalian fount of poetic 
memory (cf. v. 1257, [on 90). ἄστακ- 
τον" οὗ καταστάζον ἀλλὰ ῥύδην (Hesy- 
chius). Cf. δ ὄμματος | ἀστακτὶ λεί- 
βων δάκρυον Soph. Oed. Col, 1250. --- 
βακχεύουσαν Διονύσῳ: with Bacchus 
wont to revel. A personification of the 
mount; cf. πᾶν δὲ συνεβάκχευ᾽ bpos 


Bacch. 727 (Mt. Cithaeron). The 


heights of Parnassus are continually 
celebrated in Greek poetry as the 
scene of Bacchic revelry; cf. σὲ δ᾽ 
ὑπὲρ διλόφοιο πέτρας στέροψ ὕπωπε 
| λιγνύς, ἔνθα Κωρύκιαι | νύμφαι 
στείχουσι Βακχίδες,] Κασταλίας τε 
νᾶμα Soph. Ant. 1126, addressed to 
the god. 

1245 ff. The infant Phoebus slays 
the Python, the dragon that guarded 
her shrine for Themis, and takes pos- 
session of the oracular seat. 

1245-1248. κατάχαλκος : the word 
seems unsuited to the context. The 
serpent lurked under the shady bay- 
tree, which grew near the holy tripod 
and was made to tremble by the 
Pythian priestess as she chanted. Ion 
sweeps the fane with a besom of bay- 
twigs (πτόρθοισι δάφνης). — μαντεῖον 
χθόνιον : Themis, who possessed the 
oracle, was mais XOovds. Cf. χθονίας 
θεᾶς vs. 1272 f. So the Python 
was “Barth-born” (yas πελώριον 
Tépas). 

1252. ἐπέβας : didst enter upon. For 
the gen., cf. v. 216. 


170 


, > > , 
τρίποδι ὃ εν χρυσέῳ 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 


θάσσεις, ἐν ἀψευδεῖ θρόνῳ 


1255 μαντείας βροτοῖς 
θεσφάτων νέμων 


ἀδύτων ὕπο, Κασταλίας ῥεέθρων 


γείτων, μέσον γᾶς ἔχων μέλαθρον. 


> Ν nA 
Θέμιν δ᾽ ἐπεὶ γαΐων 


ἀντιστροφη. 


lal 5 , ¢c Les 
1260 παῖς ἀπένασσεν ὁ Aat@os ἀπὸ ζαθέων 


χρηστηρίων, νύχια 


θὰ 3 ’ , 3 3 , ν 4 
χθὼν ἐτεκνώσατο φάσματ᾽ ὀνείρων, οἱ πολέσιν με- 


ρόπων τά τε πρῶτα 


1265Ta T ἔπειτ᾽ ὅσ᾽ ἔμελλε τυχεῖν 


ὕπνου κατὰ δνοφερὰς 


1254-1257. ἐν ἀψευδεῖ. .. ἀδύτων 
ὕπο: upon the wnerring seat dispensing 
prophecy to men from within thy holy 
cell. For the periphrasis μαντείας 
θεσφάτων, cf. θεσφάτων ἀοιδαῖς ν. 1288. 
- ἀδύτων ὕπο: ὑπό with gen. (“from 
under”), because the ἄδυτον was con- 
nected with a chasm in the earth, and 
the occupant of the tripod under the 
influence of its exhalations. C/. v. 
976. 

1258. μέσον yds: the sanctuary 
was believed to mark Earth’s cen- 
tral point (ὀμφαλὸς γῆς), as Euripides 
constantly mentions; cf. ἥκω δὲ Δελ- 
φῶν τήνδε γῆν, i” ὀμφαλὸν | μέσον καθ- 
ίζων Φοῖβος ὑμνῳδεῖ βροτοῖς | τά τ᾽ 
ὄντα καὶ μέλλοντα θεσπίζων ἀεί Ton ὃ. 


(Antistrophe. ) 


1259 ff. Gaea, offended at the dep- 
osition of her daughter Themis, in- 
stitutes a dream-oracle to supersede 
the Pythian, whereupon the god ap- 
peals to Zeus. 


1259-1263. γαΐων χρηστηρίων : the 
same as μαντεῖον χθόνιον ν. 1248. ---ἀπέ- 
νασσεν: cf. v. 170.---ὀἐτεκνώσατο : yen- 
erated. Earth is “mother of dreams”; 
cf. ὦ πότνια XOdv, | μελανοπτερύγων 
μῆτερ ὀνείρων Hec. 70. — νύχια 
φάσματ᾽ ὀνείρων: cf. cy ὀνείρων ν. 
150. 

1264 f. πολέσιν : πολλοῖς (Orxnamen- 
tal epithet) notwithstanding the part. 
gen. μερόπων. “Tomultitudinous men.” 
-- τά τε πρῶτα τά τ᾽ ἔπειτα: 1.6. the” 
ΡῬαβί αηα the future, ‘alphaand omega,’ 
naming the fermer only for the sake 
of a round antithetic phrase. See on 
ν. 1026, and ef. τά τ᾽ ὄντα καὶ μέλλοντα 
Ton 7, quoted on ν. 1258.— ὅσ᾽ ἔμελλε 


τυχεῖν: explains and enforces τὰ 
ἔπειτα. 
1266 f. tmvov .. . χαμεύνας: in 


darkling lowly beds of slumber. A 
dream-oracle was consulted by lying 
down to sleep by the shrine (incu- 
batio). Cf. Vergil’s lines: hue dona 
sacerdos|cum tulit et caesa- 





IPHIGENIA AMONG THE TAURIANS. Ra 


xapevvas φράζον: Tata δὲ τὰν μαντείων ἀφείλετο 


τιμὰν 


Φοῖβον φθόνῳ θυγατρός: 


1270 ταχύπους δ᾽ ἐς Ὄλυμπον ὁρμαθεὶς ἀναξ 


χέρα παιδνὸν ἕλιξεν ἐκ Ζηνὸς θρόνων 


»᾽Πυθίων δόμων χθονίας ἀφελεῖν 


θεᾶς μῆνιν νυχίους τ᾽ ἐνοπάς. 


γέλασε δ᾽ ὅτι τέκος adap ἔβα πολύχρυσα θέλων 


1275 λατρεύματα σχεῖν" 


A Ν ἢ ’ὔ “ 
ἐπὶ δὲ σείσας κόμαν παῦσεν νυχίους ὀνείρους, 


ἀπὸ δὲ λαθοσύναν 


νυκτωπὸν ἐξεῖλεν βροτῶν 


1280 καὶ τιμὰς πάλιν 
θῆκε Λοξίᾳ, 


rum ovium sub nocte silenti 
| pellibus incubuit stratis 
somnosque  petivit, | multa 
modis simulacra videt voli- 
tantia miris|et varias audit 
voces fruiturque deorum|con- 
loquio atque imis Acheronta 
adfatur Avernis Aen. vii. 86. 

1268 f. Γαῖα δὲ κτλ.: and so Gaea, 
etc. Resumptive statement. -— φθόνῳ 
θυγατρός : in jealous regard jor her 
child. 

1270-1273. ταχύπους : not attribu- 
tive, but pred. with ὁρμαθείς (“with 
swift step”).—xépa ... θρόνων : his 
little arm he wound about Zeus’ throne 
(and clung there prayerfully). 
stead of ἀμφί, after the analogy of 
some such verb as ἐξορτᾶν. Cf. v. 363. 
--ἀφελεῖν: const. with χέρα ἕλιξεν, 
which implies supplication. —vvy lous 
ἐνοπάς: cf. varias voces Vergil /.c. 

1274 f. γέλασε: sc. Ζεύς. Phoebus’ 
prompt and precocious solicitude for 
his revenues is highly entertaining to 


ἐκ in- 


the Father. The counterpart to this 
whole unique history is found in the 
exploits of that other infant prodigy 
Hermes, as related in the Homeric 
Hymn. Then it became Phoebus’ own 
turn to smile (viduus pharetra | 
risit Apollo Hor. Carm. i. 10. 11). 
— The rapid rhythm here coincides 
with a critical juncture of affairs, as 
at the corresponding point of the 
strophe (the slaying of the serpent, 
σὺ δέ νιν κτλ. V. 1249), 

1270 f. ἐπὶ δὲ σείσας κόμαν : ἐπι- 
νεύσας. A reminiscence from Homer: 
7, καὶ κυανέῃσιν ἐπ᾽ ὀφρύσι νεῦσε Kpo- 
viov: | ἀμβροσίαι δ᾽ ἄρα χαῖται 
ἐπερρώσαντο ἄνακτος | κρατὺς ἀπ᾿ 
ἀθανάτοιο A 528. 

1278 ff. ἀπό: adverbial. So ἐπί 
above. —See on vy. 832.—Aaboovvav 
νυκτωπόν : nightly oblivion. No inapt 
designation of the effects of ‘Themis’ 
dream-oracle, if her shrine resembled 
the Albunean grove, nemorum 
quae maxima sacro | fonte so- 


EYPUTAOY I[%ITENEIA. 


πολυάνορι δ᾽ ἐν ἕενόεντι θρόνῳ 
θάρση βροτοῖς θεσφάτων ἀοιδαῖς. 


ΑΓΓΕΛΟΣ. 


> , , ’ > 5 ’, 
ὦ ναοφύλακες βώμιοί τ᾽ ἐπιστάται, 
1285 Θόας ἀναξ γῆς τῆσδε ποῦ κυρεῖ βεβώς; 
a) > 4 5 ’ὕ / 
καλεῖτ᾽, ἀναπτύξαντες εὐγόμφους πύλας, 


ἔξω μελάθρων τῶνδε κοίρανον χθονός. 


ΧΟΡΟΣ. 


’ 3 » > Ν Ν A , 
τί δ᾽ ἔστιν, εἰ χρὴ μὴ κελευσθεῖσαν λέγειν; 


ATTEAOS. 


βεβᾶσι φροῦδοι δίπτυχοι νεανίαι 


1290 ᾿Αγαμεμνονείας παιδὸς ἐκ βουλευμάτων 


φεύγοντες ἐκ γῆς τῆσδε καὶ σεμνὸν βρέτας 
λαβόντες ἐν κόλποισιν “Ἑλλάδος νεώς. 


nat saevamque exhalat opaca 
mephitim Verg. l.c.—@yKe: ἐποίησε. 
With πάλιν: “restored.” — βροτοῖς : in 
the same const. as Λοξίᾳ. --- ἀοιδαῖς : 
const. with the substantive θάρση. --- 
πολυνυάνορι KTA.: and to men confidence 
in the prophecies chanted at the full- 
thronged, guest-frequented throne. Be- 
sides the patrons and pilgrims who 
came continually to consult the god, 
a vast concourse of éévo. from all 
parts assembled periodically in the 
plain of Crisa to attend the Pythian 
festival, which was connected with 
the oracle. Cf. ἐλθὼν eis τὸ κλεινὸν 
Ἑλλάδος | mpdoxnuw ἀγῶνος Δελφικῶψν 
ἄθλων χάριν Soph. El. 681. 


IX. Exopos, vs. 1284—End. 


A messenger, who is one of the 
king’s attendants that accompanied 


Iphigenia to the shore (vy. 1208), en- 
ters in haste. 

1284. ὦ vaodvAakes κτλ.: not ad- 
dressed to the chorus, although the 
choreutae were in the service of the 
temple, but to any officials who may 
be in hearing; cf. v. 1304. — βώμιοι: 
i.e. of ἐπὶ βωμῷ. Cf. βώμιοι πίτνοντες 
Andr. 357, χρόνιοι ἥκουσιν Υ. 258, 
παράκτιοι δραμεῖσθε ν. 1424. --- ἐπιστά- 
ται: cf. τοῖς ἐφεστῶσι σφαγῇ Vv. 120, 
θυμάτος ἐπιστάτης Hec. 229. 

1285. ποῦ κυρεῖ βεβώς : Where is he 
gone? Cf. βεβᾶσι φροῦδοι (“are gone 
off”), vs. 1289, 1478. Strictly, how- 
ever, not motion, but position, is indi- 
cated by βεβηκέναι. Cf. γεγώς for ὧν. 
- κυρεῖ: τυγχάνει. 

1291 f. φεύγοντες καὶ λαβόντες: 
obs. the different tenses. “In flight, 
taking with them.” For the const. 


IPHIGENIA AMONG THE TAURIANS. 173 


ΧΟΡΟΣ. 


ἄπιστον εἶπας μῦθον ὃν δ᾽ ἰδεῖν θέλεις 


ΕἿΣ , A 5 Ὁ“ ,ὔ 
ἄνακτα χώρας, φροῦδος ἐκ ναοῦ συθείς. 


ΑΓΓΕΛΟΣ. 


1295 ποῖ; δεῖ γὰρ αὐτὸν εἰδέναι τὰ δρώμενα. 


* 


ΧΟΡΟΣ. 


ΕῚ » 5 Ν “ Ἀ ,ἅ Μ᾿ 
οὐκ ίσμεν" ἀλλὰ στεῖχε καὶ δίωκέ νιν 


ν 4 4 > > oe ’ὔ’ 
ὅπου κυρήσας τούσδ᾽ ἀπαγγελεῖς λόγους. 


ΑΓΓΕΛΟΣ. 


5 2 “ 
ὁρᾶτ᾽, ἄπιστον ὡς γυναικεῖον γένος, 


μέτεστι χὑμῖν τῶν πεπραγμένων μέρος. 


ΧΟΡΟΣ. 


1800 patver τί δ᾽ ἡμῖν τῶν ξένων δρασμοῦ μέτα; 


“. 9 
οὐκ εἶ κρατούντων πρὸς πύλας ὅσον τάχος; 


ΑΓΓΕΛΟΣ. 


> , Saal ¥ ¥ ε Ν ΄ 
ου πριν oY, αν ΕὐΤΎ) τουπος ερμηνευς τόδε, 


οἶδε ] » » 9 > » 3 ἊΝ 
ειτ ἔνδον €LT OUK ἔνδον αρχῆγος χθονός. 


with φροῦδοι, see on v. 1294. --- Notice 
the messenger’s amplitude of phrase 
in both these quatrains, and cf. the 
same thing in vs. 238-245. 

1293 f. ὃν ἄνακτα: see on v. 979. 
Here the subj. nom. (ἄναξ) 1s attracted 
and assimilated; cf urbem quam 
statuo vestra est Verg. Aen. i. 
573. — φροῦδος συθείς : sped and gone. 
Cf. φροῦδος θανών Soph. El. 1152, φροῦ- 
δος ἐς ἽΑιδην | θάνατος προφέρων σώ- 
ματα τέκνων Med.1110. The participle 
is supplementary to φροῦδος. 

1295. τὰ δρώμενα: obs. the tense; 
the affair is not yet finished. 

1297. “ Until you catch him and 
tell him your story.” — ὅπου: ἐκεῖσε 


ὅπου. For the construction, ef 
vy. 119, 

1298. The messenger penetrates 
the design of the coryphaeus to put 
him off. — χύμῖν : καὶ ὑμῖν (you your- 
selves). 

1301. “ Why don’t you go as fast 
as you can to the king’s house ?” — 
It may be fairly inferred from these 
words that Thoas’ residence was sup- 
posed to lie on the side opposite to 
that whence the messenger had en- 
tered. See p. 23. 

1302. ἑρμηνεύς : ie. ἑρμηνεύς τις, 
‘qui exponere possit. ‘Not 
until I get a correct interpretation of 
this point.” ---ἔπος τόδε: explained 


174 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


on χαλᾶτε κλῇθρα, τοῖς ἔνδον λέγω, 


1305 καὶ δεσπότῃ σημήναθ᾽ οὕνεκ᾽ ἐν πύλαις 
η σημη 


, ΄ ’ 5 4 x 
πάρειμι, καινῶν φόρτον ἀγγέλλων κακῶν. 


ΘΟΑΣ. 


τίς ἀμφὶ δῶμα θεᾶς ὅδ᾽ ἵστησιν βοήν, 
, > , an ΄ ΄, » 
πύλας ἀράξας Kal ψόφον πέμψας ἔσω; 


ATTEAOS. 


ἔφασκον αἵδε Kai μ᾽ ἀπήλαυνον δόμων, 


1310 ὡς ἐκτὸς Eins: σὺ δὲ κατ᾽ οἶκον ἦσθ᾽ apa. 


ΘΟΑΣ. 


τί προσδοκῶσαι κέρδος ἢ θηρώμεναι; 


ΑΓΓΕΛΟΣ. 


> Ν la “ Ἂν 3 > \ 
αὖθις τα τῶνδε σημανω" TA ὃ εν ποσιν 


ΝΣ δ ν 
πάαροντ ακουσον. 


ἡ νεᾶνις, ἣ ᾽νθάδε 


“ ’ 3 > - > » Ν 
βωμοῖς παρίστατ᾽, ᾿Ιφιγένει᾽, ἔξω χθονὸς 
1315 σὺν τοῖς ἕξένοισιν οἴχεται, σεμνὸν θεᾶς 
¥ yn ΄, 3 > , 
ἄγαλμ᾽ ἔχουσα: δόλια δ᾽ ἣν καθάρματα. 


by v. 1803; in fact the original ques- 
tion, mov κυρεῖ BeBas ; 

1304. He draws near and knocks 
loudly. — oy: Ho there! 

1306. καινῶν... κακῶν: with a 
whole shipload of bad news to tell. 

1307 f. Thoas, disturbed at his work 
of fumigating, makes his appearance 
at the temple-door. — tis... ὅδ᾽ torn- 
σιν βοήν: Who is this raising a clamor, 
etc.? —dpdtas: cf. v. 310. 

1309 f. ‘The man has to explain, 
first of all, his unseemly invasion of 
the quiet sanctity of the premises. 
These women pretended to say, and 
would drive me from the doors, that 
you, etc. —€backov: equiv., as often, 
to ψευδῶς ἔλεγον, which the Mss. here 


give, unmetrically.—é€hackov καὶ 
ἀπήλαυνον : 1.6. ἔφασκον ἀπελαύνουσαι. 
—ov δὲ... ἄρα: see on v. 951. 

1312 f. αὖθις... σημανῶ: 7 will 
explain their case by and by.—a. . 
παρόντα: τὰ ἐν ποσίν, ἃ common 
phrase for what is immediately pres- 
ent; cf. τοὺν ποσὶν yap οἰστέον κακόν 
Alc. 149. 

1317. πῶς φής: the formula is ex- 
pressive of astonishment by its very 
sound. Of. πῶς φής; πέφευγε τοὔπος 
ἐξ ἀπιστίας Aesch. Ag. 268; ποῦ; πᾶ; 
πῶς φής; Ar. Av.318. Note the allit- 
eration in both passages (@ sounds 
like pu, not like 2). --- τί πνεῦμα κτλ. : 
What breeze of fortune has she caught ? 
Still another metaphor from sailing. 


ee 


IPHIGENIA AMONG THE TAURIANS. 175 


ΘΟΑΣ. 


πῶς φής; τί πνεῦμα συμφορᾶς κεκτημένη ; 


ΑΓΓΕΛΟΣ. 


v4 ἊΝ , ; A ἂν Ν θ U4 
σῳζουσ Opeotny: τοῦτο yap σὺ θαυμάσει. 


ΘΟΑΣ. 


XN -“ Ὧν 3s A Ν ΄ὔ ,ὔ 
TOV TOLOV ; ap ov Tuvdapis TLKTEL ΚΟΡΉ 5 


ΑΓΓΕΛΟΣ. 


1320 ὃν τοῖσδε βωμοῖς θεὰ καθωσιώσατο. 


ὍΘΟΑΣ. 


ὦ θαῦμα, πῶς σε μεῖζον ὀνομάσας τύχω; 


ΑΓΓΕΛΟΣ. 


μὴ ᾿νταῦθα τρέψης σὴν φρέν᾽, ἀλλ᾽ ἀκουέ μου: 


σαφῶς δ᾽ ἀθρήσας καὶ κλύων ἐκφρόντισον 


Ν 9 Ν ,΄ ’, 
διωγμὸς οστις TOUS ξένους θηράσεται. 


ΘΟΑΣ. 


1325 λέγ᾽ - εὖ γὰρ εἶπας - οὐ γὰρ ἀγχίπλουν πόρον 


,ὔ -“ “ > , 
φεύγουσιν, ὥστε διαφυγεῖν τοὐμὸν δόρυ. 


The question is like y. 1311, both in 
form and effect. 

1318. σῳΐζουσ᾽ ᾿Ορέστην : “ the for- 
tune of saving Orestes.’ Adapted in 
const. to the participle κεκτημένη v. 
1317.— yop: refers to the startling 
name, as to an interjection. 

1319. τὸν ποῖον : “ What Orestes?” 
motos is not barely interrogative, but 
generally implies feeling of some 
sort; cf. v. 1030. As for the article, 
even τὸ τί; occurs in comedy. 

1320. ov κτλ.: “for he it was, etc.” 
Cf. v.56. Were adapted drily to ὃν 
τίκτει V. 1319. — καθωσιώσατο : mid. 
(see on y. 849); the active would be 
said of the priestess. 


1321. Apostrophe. O thou marvel! 
by what greater name may 1 rightly call 
thee? —TTo Thoas, θαῦμα is a weak 
word. —tvxw: τυχεῖν (‘hit the 
mark ’’) is often employed as here; 
cf. ποίας ἂν ὑμᾶς πατρίδος ἢ γένους ποτὲ 
| τύχοιμ᾽ ἂν εἰπών; Soph. Pail. 
222. 

1322. ἐνταῦθα: viz. in the direc- 
tion of finding the right name for the 
circumstance. 

1323 f. These two lines are quite 
in the messenger’s style. — διωγμὸς 
ὅστις : hyperbaton for ὅστις διωγμός. 

1325 f. οὐ γὰρ κτλ. : on πὸ such nigh- 
bound voyage they flee as to escape my 
armed hand. —Note the distinction 


EYPIIIAOY I®ITENEIA. 


ΑΓΓΕΛΟΣ. 


ἐπεὶ πρὸς ἀκτὰς ἤλθομεν θαλασσίους, 


οὗ ναῦς Ὁρεσ τι κρύφιος ἢν ὡρμισμένη, 


meas μέν, οὺς σὺ δεσμὰ συμπεμπος ξένων 


1330 ἔχοντας, ἐξένευσ᾽ Soi πρόσω 


ΕΣ α ἘΜ τος παῖς, ὡς Ene ΟΣ φλόγα 


θύουσα καὶ eae OV μετῴχετο. 


αὐτὴ δέ, χερσὶ δέσμ᾽ ἔχουσα τοῖν ἕένοιν, 


» 5. ἡ 
εστειχ ὄπισθε. 


\ ΠΣ > Ψ , 
και TQ ἫΝ VTTOTTI TA μεν, 


5 » , an , »᾿ 
1995 Ὥβρεσκε μέντοι σοισὶι προσπόλοις, ἀναξ. 


χρόνῳ δ᾽, 


ἵν ἡμῖν δρᾶν τι δὴ δοκοῖ πλέον, 


ἀνωλόλυξε καὶ κατῇδε βάρβαρα 


between φεύγειν and φυγεῖν, here 
clearly exhibited. —80pv: said typi- 
cally; like dopi (see on v. 519). Cf. 
λόγχην v. 1484.— This transitional 
distich is intended to justify the long 
ῥῆσις which follows. See p. 31, foot- 
note. 

1329 f. ἡμᾶς μέν : for our part. Cor- 
relative to αὐτὴ δέν. 1333. — ἐξένευσε 

πρόσω: signed to us to stand off in 
advance. νεῦσαι. “nod.” ἐξ and ἀπό 
have a similar force in composition 
here. 

1331 f. ἀπόρρητον : although not 
pred., is the significant word of the 
passage. —@vovca: followed by φλόγα 
and καθαρμόν as free cognate accusa- 
tives; cf. θύω. 
Fur. 986; similarly, πόρον φεύγουσιν 
vy. 1325.—“ Giving the reason that 
she was engaged in a holy rite, with 
mystic flame, for purification,” ete. — 
The pres. participle applies to the 
whole performance in which she was 
engaged, although this had not actu- 
ally begun when she ordered the at- 
tendants to move on (cf. ἀγγέλλων VY. 
1306). 


. καθάρσιον πῦρ Herc. 


1333 f. αὐτὴ δέ: “while she.” —éxov- 
σα χερσί: holding. —- ὄπισθε ἔστειχε: 
marched in the rear. It is implied by 
the description that the priestess and 
the prisoners were left behind, to turn 
off and halt where it pleased her for 
the performance of the rite. 

1334 f. καὶ τάδε κτλ. : all this was 
matter of suspicion to be sure; your ser- 
vants, however, made the best of it, sire. 
— For ἀρέσκειν, as here used, cf. the 
German ‘sich gefallen lassen,’ also 
δοκεῖν “make believe” (seem on pur- 
pose) v. 956, στέργειν “put up with” 
(love from a sense of duty). — μέντοι: 
correlative to μέν, as often. 

1336. xpovw: presently; this dative 
is peculiar, but common and exactly 
like our ‘in time.’ — δρᾶν τι. 
πλέον : might seem forsooth to be get- 
ting on (viz. in the ceremony). 
conveys the idea of progress, as in the 
phrase πλέο, ἔχειν that of advantage. 

1337 f. She raised the holy cry and 
proceeded to chant with outlandish magi- 
cal incantations. —dvwdodvke: ὀλολύ- 
ζειν, dAoAvyh, οἵ women’s voices in 
ritual observance ; cf. ὀλολυγμὸν ἱερὸν 


/ 
πλέον 


IPHIGENIA AMONG THE TAURIANS. 


177 


έλη μαγεύουσ᾽, ws φόνον νίζουσα δή. 
μελη μαγ ω) 


> \ \ \ > . ΄ 
ἐπεὶ δὲ δαρὸν ἦμεν ἥμενοι χρόνον, 


1840 ἐσῆλθεν ἡμᾶς μὴ λυθέντες οἱ ἕένοι 


, » X\ / > > 4 
κτάνοιεν αὐτὴν δραπέται τ᾽ οἰχοίατο. 

΄ chee δι \ A > “ ΄ 
φόβῳ δ᾽ ἃ μὴ χρῆν εἰσορᾶν καθήμεθα 
σιγῇ" τέλος δὲ πᾶσιν αὑτὸς ἢν λόγος, 


΄ ne) > , 
στείχειν W ἦσαν, καίπερ οὐκ ἐωμένοις. 


1345 κἀνταῦθ᾽ ὁρῶμεν Ἑλλάδος νεὼς σκάφος 


, 4 > aN A 4 
ναύτας TE πεντήκοντ ἐπὶ σκαλμῶν πλάτας 


x 3 an \ \ ΄ 
EXOVTAS, εκ δεσμῶν δὲ τους νεανιας 


3 ΄ ,, ε “A / 
ἐλευθέρους πρύμνηθεν ἑστῶτας νεώς. 


1350 κοντοῖς δὲ πρῴραν εἶχον, ot δ᾽ ἐπωτίδων 


ΕΣ 5 A ἃ Ν "2 
αγκυραν ἐξανῆπτον, οι δὲ κλίμακας 


πόντῳ διδόντες τοῖν ἕένοιν καθίεσαν. 


εὐμενῆ παιάνισον Aesch. Sept. 268, ad- 
dressed to the chorus of women. — 
βάρβαρα : this word denotes any un- 
intelligible utterance. What Iphi- 
genia said was ‘all Greek’ to the 
Barbarians. 

1340 f. It occurred to us that the for- 
cigners getting loose might have killed her 
and made off in flight. Thus in Eng- 
lish, although the optatives do not 
express past time. The construction 
is peculiar merely in that the ‘ object 
clause’ with μή, which implies fear, 
as always, here appears as the subject 
of the leading verb. 

1342-1344. Cf. the situation at vs. 
295 f. —@ μὴ χρῆν : sc. εἰσορᾶν. The 
whole phrase is equiv. to τὰ ἄρρητα 
(cf. v. 1198). The past tense χρῆν is 
by assimilation to the time of the lead- 
ing verb καθήμεθα. --- εἰσορᾶν : const. 
with φόβῳ. Cf. vy. 1980. --- πᾶσιν... 
λόγος : all were of one mind (see on vy. 
578). — οὐκ €wpevots : Sorbidden, οὐκ 
ἐῶ (veto) like οὔ φημι (nego). Cf. 


οὐκ ἐῶ στάζειν δάκρυ (“1 bid you weep 
not”) Iph. Aul. 1466. See H. 1028. 
1347-1349. ἐπὶ σκαλμῶν : σκαλμός, 
thole (row-lock or pin).— ἐκ δεσμῶν : 
const. with ἐλευθέρους. --- τοὺς νεανίας : 
viz. Orestes and Pylades, the δίπτυχοι 
νεανίαι, as is made perfectly clear by 
the position. — πρύμνηθεν νεώς : αὐα 
the vessel. But still on shore, as the 
narrative shows. The Greeks moored 
their boats bows out. 
instead of κατὰ πρύμναν, cf. the freq. 
ἐγγύθεν for ἐγγύς, €.g. ὅταν παραστῶ σοὶ 


For πρύμνηθεν 


μὲν ἐγγύθεν ποδός Lon 612. 

1350. εἶχον: the subj. is genera! 
(they), but since the whole crew would 
of course not be engaged in steadying 
the prow, οἵ δέ follows as if οἱ μέν had 
preceded.—érwrtlSav: to the catheads. 

1351 f. οἵ δὲ... καθίεσαν : while 
still others were giving to the sea a lad- 
der lowered for the pair. The technical 
name of a landing-ladder was ἀπο- 
βάθρα. ---- Considerable doubt attaches 
to the text of vs. 1845-1355, 


178 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ἡμεῖς δ᾽ ἀφειδήσαντες, ws ἐσείδομεν 


1355 δόλια τεχνήματ᾽, εἰχόμεσθα τῆς ἕένης 


΄ \ ὃ 3 Wa ΄ 
πρυμνὴ O L@V TE, Και Ca Εὖ υντὴριας 


»Ἤ᾽ lol ’ 
olakas ἐξῃροῦμεν εὐπρύμνου νεώς. 


λόγοι δ᾽ ἐχώρουν: τίνι νόμῳ πορθμεύετε 


κλέπτοντες ἐκ γῆς ξόανα καὶ θυηπόλους; 


1360 τίνος τίς ὧν σὺ τήνδ᾽ ἀπεμπολᾷς χθονός; 


aA 5 3 3 , “a > ν ε / 
ὃ δ᾽ εἶπ᾽ . ᾿Ορέστης, τῆσδ᾽ ὅμαιμος, ὡς μάθῃς, 


᾿Αγαμέμνονος παῖς, τήνδ᾽ ἐμὴν κομίζομαι 


λαβὼν ἀδελφήν, ἣν ἀπώλεσ᾽ ἐκ δόμων. 


ἀλλ᾽ οὐδὲν ἧσσον εἰχόμεσθα τῆς ξένης 


1365 καὶ πρὸς σ᾽ ἕπεσθαι διεβιαζόμεσθά νιν. 


ὅθεν τὰ δεινὰ πλήγματ᾽ ἦν γενειάδων 


κεῖνοί τε γὰρ σίδηρον οὐκ εἶχον χεροῖν 


1354-1357. ἀφειδήσαντες : “dismiss- 
ing all scruples.” They felt bound 
to spare the priestess no longer, when 
they saw her work. — elxoperOa: laid 
hold of; although the impf. shows 
them already holding on. — πρυμνή- 
σια : stern-cables.— καὶ διὰ κτλ.: and 
endeavored to unship the rudder of the 
goodly bark. The εὐθυντηρίαι are the 
guides or guiding-holes of the steer- 
ing-oar. Cf. v. 432, where the inter- 
pretation of εὐναίων is doubtful. 

1358-1360. λόγοι δ᾽ ἐχώρουν : words 
ran high. —rivw νόμῳ: By what right? 
—foava καὶ θυηπόλους: notice the 
contemptuous effect of the generaliz- 
ing plural.— Kidnapping flourished 
in the days of universal slavery. See 
the story of Eumaeus in Homer 
(o 415 ff.), and the fine Homeric 
Hymn vii. ‘Dionysus or the Bucca- 
neers.” It would be interesting to 
know how large a demand there was 
for ξόανα. 

1360. τίνος tis dv: two interroga- 


tives without connective; cf. ᾧ φίλος, 
εἰπὲ ποῦ τίς ἀλκά; Aesch. Pr. 545, 
See H. 1019. Cf. also, for both form 
and sense, the Homeric τίς πόθεν εἰς 
ἀνδρῶν; (a 170). τίνος calls for the 


father’s name, which a man regularly 


added to his own, unless he was κακὸς 
kak κακῶν. We should say here “ Who 
and what are you?” ‘Whose dog 
are you?’ is a sort of parallel to the 
Greek.—ov: said to Orestes person- 
ally, who is recognized as ringleader. 
Euripides keeps his hero in the front 
with great skill, even in the narrative 
passages. 

1365. πρὸς σὲ κτλ.: tried to force 
her to come along with us to you. 

1366. ὅθεν τὰ δεινὰ κτλ.: cf. hine 
1118 6 lacrumae Ter. Andr. i. 199. 
For the article, cf v. 320. Here, the 
impression is not made on the mind 
only. 

1367 f. κεῖνοί τε. .. οὐκ εἶχον... 
ἡμεῖς τε: instead of οὔτ᾽ ἐκεῖνοι εἶχον 
οὔθ᾽ ἡμεῖς. The neg. particle belongs 


—— 


—_—. 


IPHIGENIA AMONG THE TAURIANS. £79 


A ν᾿ my 

ἡμεῖς τε: πυγμαὶ δ᾽ ἦσαν ἐγκροτούμεναι, 
Ν Ὁ 5 > 5 A lay / gy 

καὶ KON amt ἀμφοῖν τοῖν veaviaw ἅμα 


> \ \ Ν a > ΄ 
1370 εἰς πλευρὰ καὶ πρὸς παρ ηἠκοντίζετο, 

ὥστε ξυνάπτειν καὶ συναποκαμεῖν μέλη. 

δεινοῖς δὲ σημάντροισιν ἐσφραγισμένοι 

ἐφεύγομεν πρὸς κρημνόν, Ol μὲν ἐν κάρᾳ 

tA > » 4 > ἃ 5 > ¥ 

κάθαιμ᾽ ἔχοντες τραύμαθ᾽, ot δ᾽ ἐν ὄμμασιν. 
315 ὄχθοις δ᾽ ἐπισταθέντες, εὐλαβεστέρως 

> “2 x 4 5 , 

ἐμαρνάμεσθα καὶ πέτρους ἐβάλλομεν. 

> ey eon ΄ , ¥ 

ἀλλ᾽ εἶργον ἡμᾶς τοξόται πρύμνης ἐπι 

σταθέντες ἰοῖς, ὥστ᾽ ἀναστεῖλαι πρόσω. 


κἀν τῷδε, δεινὸς γὰρ κλύδων ὦκειλε ναῦν 
1380 πρὸς γῆν, φόβος δ᾽ ἢν παρθένῳ τέγξαι πόδα, 
Ν > 4 > 2) 5 / 
λαβὼν ᾿Ορέστης ὦμον εἰς ἀριστερόν, 
Ν. 5 Zz 5 ἈΝ ’ὔ 7 
Bas εἰς θάλασσαν κἀπὶ κλίμακος θορών, 


closely to the verb, and the sentence 
as a whole is felt as rather affirma- 
tive than negative (“both they and 
we were unarmed’’). Cf. vs. 1477 f. 
---πυγμαὶ κτλ.: ‘pugni erant qui 
impingebantur, 

1369 f. κῶλα ἠκοντίζετο: “heels 
flew lively.” Cf. v. 362. -- ἅμα: ie. 
πυγμαί and κῶλα all at once. : 

1371. The subj. of the infinitives is 
felt as ἡμᾶς, implied before in eis 
πλευρὰ καὶ πρὸς ἧπαρ. There is point 
in the repetition οἵ σύν in composi- 
tion. “So that we no sooner closed 
with them than we gave out in every 
limb.” — Demosthenes has a word to 
say about the poor boxing of foreign- 
ers (βάρβαροι), iv. 40, 

1372. ἐσφραγισμένοι : mention of 
the σφραγίς “signet,” which was used 
for both personal and official busi- 
ness, is freq.in Greek. Cf. σφραγῖδα 
φύλασσ᾽ ἣν ἐπὶ δέλτῳ | τήνδε κομίζεις 


Iph. Aul. 155, Ῥοιβυποίδογαβ to Iris: 
oppayid’ ἔχεις παρὰ τῶν πελαργῶν; 
(“‘ Have you been properly stamped 9) 
Ar. Av. 1213. 

1373-1376. The Taurians fall back 
from the level beach to the sea-banks 
(κρημνός, ὄχθοι), where they resume 
the contest with a fire of stones, no 
longer at close quarters, but in a better 
position for defence (εὐλαβεστέρως). 

1378. ὥστε... πρόσω: with such 
effect as to drive us back still farther. 

1379-1385. Lest the favorable mo- 
ment should be lost, as the craft is 
impelled shoreward by a heavy surf, 
Orestes lifts Iphigenia, who hesitates 
to step into the water herself, and 
wades with his burden to the ladder. 

1379 f. ἐν rwSe: “at this crisis of 


affairs.” —8ewds yap... πόδα: par- 
enthetical. —a@kewre: ὀκέλλειν, poetic 


form κέλλειν (κελ, Celer, KéAns 
“yacht,” efc.), to ‘beach’ a vessel, 


150 ΕΥ̓ΡΙΠΙΔΟΥ I1®ITENEIA. 


ἔθηκ᾽ ἀδελφὴν ἐντὸς εὐσέλμου νεὼς 
τό T οὐρανοῦ πέσημα, τῆς Διὸς κόρης 


1385 ἄγαλμα. 


ναὸς δ᾽ ἐκ μέσης ἐφθέγξατο 


βοή τις. ὦ γῆς Ἑλλάδος ναύτης λεώς, 


λάβεσθε κώπης ῥόθιά τ᾽ ἐκλευκαίνετε" 


¥ \ @ 7 > » ΄ 
εχόομεν γαρ ὠνπερ εινεκ ἄξενον πορον 


Συμπληγάδων ἔσωθεν εἰσεπλεύσαμεν. 
1390 οὗ δὲ στεναγμὸν ἡδὺν ἐκβρυχώμενοι 


» ν 
ἔπαισαν αλμην. 


a > 7 Ν SRN > 
VQUS » EWS μεν εντος “4 


λιμένος, ἐχώρει: στόμια διαπερῶσα δὲ 


’ 4 le) 3 =) tf. 
λάβρῳ κλύδωνι συμπεσοῦσ᾽ ἠπείγετο 


1984. οὐρανοῦ πέσημα: cf. v. 88. 
The gen. of source with a substantive 
is the converse of γῆς πατρῴας νόστος 
vy. 1066. Somewhat similar is ‘ god- 
~ send,’ ‘ windfall.’ 

1385 f. ναὸς... βοή tis: then from 
mid-ship there sounded forth a cry. 
A supernatural utterance is meant 
(hence tls), such as will issue from 
a throng in a moment of thrilling ex- 
citement — from whose lips no one 
can tell. Euripides can hardly have 
meant us to imagine the voice as 
coming from the goddess on board, 
considering the turn he gives to events 
at the close of the narrative. The 
words of the voice are vs. 1586-1389. 

1386. ὦ γῆς “EAAdbos: the national 
spirit is apt to burst out thus in the 
drama; cf. τί μέλλετ᾽, ὦ γῆς Ἑλλάδος 
λωτίσματα (“flower”), | σφάζειν φο- 
νεύειν βαρβάρους νεώς τ᾽ ἄπο | ῥίπτειν 
ἐς οἶδμα; Hel. 1593. Downright his- 
tory in Aeschylus: ὦ παῖδες Ἑλλήνων 
tre κτλ. Pers. 402.—vairns λεώς: 
‘‘shipmates.” ναύτης is here an ad- 
jective; cf. ναύταν ὅμιλον Hec. 921. 

1387. “ Lay to, and ply the yeasty 
surge!” Cf. tortaque remigio 
spumis incanduit unda Catul- 


lus Ixiv. 19. -- ῥσθια : ῥόθιον, though 
properly not so strong a word as 
surge, often shows its original force, 
which is greater than is implied by 
plash. Cf. ἐπ’ ᾿Αμφιτρίτης ῥοθίῳ v. 425. 

1390. Whereat, fetching a deep glad 
groan, they smote the brine. —orevaryuds, 
always of a pent-up sound, here pecu- 
liarly with ἡδύς, of the voiced breath 
that escapes at the putting forth of a 
powerful but satisfying effort of mus- 
cular and nervous force. It is also 
partly the sigh of relief after the 
suspense of waiting for the start. 
βρυχᾶσθαι “to low,” “to bellow,” but 
not by any means restricted to ani- 
mals. — One can fairly see the oars 
bend in reading such a line as this. 
- ἔπαισαν ἅλμην: the aor. marks 
the instant of starting; contrast the 
imperfects that follow. The same 
words occur in Aeschylus, with simi- 
lar effect, at the beginning of the 
verse; see on vy. 1405 jin. 

1391-1393. vats δέ: emphasized 
in contrast with the crew. —éywpeu: 
made headway. — στόμια διαπερῶσα 
KTA.: but as she crossed the bar, encoun- 
tering a furious sea she labored sore. — 
ἠπείγετο: passive, “was rushed,” sc, 


Ὶ 
᾿ 





IPHIGENIA AMONG THE TAURIANS. 


181 


δεινὸς yap ἐλθὼν ἄνεμος ἐξαίφνης νεὼς 


ταρσῷ κατήρει πίτυλον ἐπτερωμένον 


1395 ὥθει παλιμπρυμνηδόν - ot δ᾽ ἐκαρτέρουν 


Ν “A ᾽ὔ 
πρὸς κῦμα λακτίζοντες " 
κλύδων παλίρρους Aye ναῦν. 
> , lal » 5 
Αγαμέμνονος παῖς εὐξατ᾽ . ὦ 


εἰς δὲ γῆν πάλιν 
σταθεῖσα δὲ 


> 


Λητοῦς κόρη, 


σῶσόν με τὴν σὴν ἱερίαν πρὸς Ῥλλάδα 


1400ἐκ βαρβάρου γῆς καὶ κλοπαῖς σύγγνωθ᾽ ἐμαῖς. 


ἴω Ν Ν Ἃς Ν a , 
φιλεῖς δὲ καὶ σὺ σὸν κασίγνητον, θεά: 


φιλεῖν δὲ κἀμὲ τοὺς ὁμαίμονας δόκει. 


ἴω 5 3 ue > “A 4 
ναῦται δ᾽ ἐπευφήμησαν εὐχαῖσιν κόρης 


in the wrong direction. Cf. ὧν τε 
Ποσειδάων evepyea νῆ᾽ ἐνὶ πόντῳ | paton 
ἐπειγομένην ἀνέμῳ καὶ κύματι πηγῷ 
Hom. ψ 234. 

1394-1396. δεινὸς... ἐξαίφνης : 
the whole circumstance is unlikely 
and undramatic; see Introd. p. 27.— 
νεὼς... παλιμπρυμνηδόν: forced the 
flying ship, her winged oarage with trim 
blade full-plumed, stern-foremost back. 
- νεὼς mirvdov: for the ship itself; 
cf. ν. 1080. ---ταρσῴ .. . ἐπτερωμένον : 
see on v. 289. ταρσός, palmula 
remi, also the flat of a bird’s wing; 
cf. our ‘feathering’ 
τέρουν : persevered. —mpos κῦμα λακ- 
τίζοντες : “battling with the wave.” 
πρὸς κέντρα Aakri(ew ‘to kick against 
the pricks’ is here varied by Eu- 
ripides, as elsewhere by Aeschylus 
in a characteristic way: οὔκουν ἔμοιγε 
χρώμενος διδασκάλῳ | πρὸς κέντρα κῶ - 
λον ἐκτενεῖς Pr. 322. The say- 
ing is familiar, from the voice that 
spoke to Saul: σκληρόν σοι πρὺς κέντρα 
λακτίζειν Act. Apost. xxvi. 14, a pas- 
sage which singularly concurs with 
one of Euripides (θύοιμ᾽ ἂν αὐτῷ μᾶλ- 
λον ἢ θυμούμενος | πρὸς κέντρα λακτί- 


Come θνητὺς ὧν θεῴ Bacch. 794 
φ > 


the oar. — éxgp- 


said by the disguised Bacchus to 
Pentheus). 

1397. κλύδων παλίρρους : refluent 
billow. — ἦγε: obs. the tense; cf ἤει 
1406. 

1401 f. Notice the thoroughgoing 
parallelism of arrangement between 
the two lines of this distich, and ef. 
μητρός τε πληγὴν τίς κατασβέσει 
δίκη; | πατρίς τε γαῖα σῆς ὑπὸ σπου- 
δῆς δορὶ [ ἁλοῦσα πῶς σοι ξύμμαχος γε- 
νήσεται; Aesch. ϑερέ. ὅ84. The doubled 
idiomatic καί here (καὶ σύ, κἀμέ) an- 
swers to the doubled τέ of the two 
parallel questions in the Aeschylean 
passage. — τοὺς ὁμαίμονας : there is a 
fineness in this plural; the appeal is 
not to a fact merely, but to a prin- 
ciple.—S8oKer: believe. Goethe has 
imitated this: ‘Du liebst, Diane, dei- 
nen holden Bruder | Vor allem, was 
dir Erd’ und Himmel bietet, .. . Ὁ 
lass den Hinz’gen, Spitgefundnen mir 
| Nicht in der Finsterniss des Wahn- 
sinns rasen!’ [phigenie iii. 3. 

1403-1405. ἐπευφήμησαν . . . παι- 
ἄνα : breathed a paear responsive to the 
maiden’s prayer. The paean is offered 
to the ‘Brother’ named by Iphigenia. 
—yupvas ... ἐπωμίδας : arms bare to 


182 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


παιᾶνα, γυμνὰς ἐκ χερῶν ἐπωμίδας 


΄ / 5 4 
1405 κωπῇ προσαρμόσαντες ἐκ κελεύματος. 


μᾶλλον δὲ μᾶλλον πρὸς πέτρας ἤει σκάφος. 


Xo μέν τις εἰς θάλασσαν ὡρμήθη ποσίν, 


ἄλλος δὲ πλεκτὰς ἐξανῆπτεν ἀγκύλας. 


3 \ Ν > Ν Ν Ν Aa > if 
κἀγὼ μὲν εὐθὺς πρὸς σὲ δεῦρ᾽ ἀπεστάλην, 


A Ν 5 wn Cal 3», ἢ 
1410 σοὶ τὰς ἐκεῖθεν σημανῶν, ἀναξ, τύχας. 


ἀλλ᾽ ἔρπε, δεσμὰ καὶ βρόχους λαβὼν χεροῖν. 


εἰ μὴ γὰρ οἶδμα νήνεμον γενήσεται, 


9 » 9 Ν - ΄ , 
οὐκ ἔστιν ἐλπὶς τοῖς E€vous σωτηρίας. 


’, > 5 γι A / 3 3 lo) 
77 OVTOU ὃ ανακτωρ Ιλιόν 17 εἐπισκοτει 


1415 σεμνὸς Ποσειδῶν, Πελοπίδαις δ᾽ ἐναντίος " 


X\ lal / SS 3 ’ Ἂ 
και νυν παρέξει TOV Αγαμέμνονος Yyovov 


σοὶ Kal πολίταις, ws ἔοικεν, ἐν χεροῖν 
λαβεῖν ἀδελφήν θ᾽, ἣ φόνον τὸν Αὐλίδι 


> / A “ 5 ε fe 
αμνημονευτον dea προδοῦσ αλίσκεται. 


the shoulder. Such is apparently the 
meaning, the Greek phrase being the 
reverse of the English, as regards the 
‘termini.’—é€k κελεύματος : 1.6. at 
the lead of the κελευστής (see on vs. 
1125 ff.). Cf. ἔπαισαν ἅλμην βρύχιον ἐκ 
κελεύματος Aesch. Pers. 597. 

1406. μᾶλλον δὲ μᾶλλον κτλ. : simi- 
lar is another line of Euripides, imi- 
tating the slow bending down of a 
tree-stem: κατῆγεν, ἦγεν, ἦγεν és μέλαν 
For μᾶλλον μᾶλλον, cf. εἶτα 
μᾶλλον μᾶλλον ἄξεις | καὶ φυλάξεις 
Ar. Ran. 1001, ἐπινέφει τὸ πρῶτον 6 
Ζεὺς ἡσυχῇ, ἔπειτα μᾶλλον μᾶλλον 
Alexis 29. Imitated by Catullus (of 
waves): post vento crescente 
increbrescunt 


πέδον. 


Magis 
Ixiv. 274. 
1407-1410. The messenger reverts 
to the movements of his own party 
on the shore. — καὶ ὃ μέν τις : see Η. 


Magis 


654 a. The correlative is ἄλλος δέ, 
for ὃ δέ. --- ἐξανῆπτεν : sc. to anything 
convenient for making fast on land, 
while the other end of the ropes was 
to be attached to the vessel by the 
men who waded out to meet her. — 
ἀγκύλας : much the same as βρόχους 
(‘‘nooses”) v. 1411. The Taurians 
were born wreckers, no doubt. — ἐγὼ 
μέν: for my own part. The antithe- 
ton is in the whole context, as often. 

1415 f. ἸΤελοπίδαις δὲ κτλ.: and, 
ever a foe to the sons of Pelops, he will 
even now deliver, etc. For δέ after τέ, 
see H. 1040 b.— καὶ νῦν : 1.6. consist- 
ently now with his attitude before, as 
displayed in the tale of Troy. 

1418 f. φόνον. .. ἁλίσκεται: “is 
found guilty of betraying the goddess’ 
trust in that forgotten murderous 
deed -at Aulis.” According to the 
popuiar view, which has been pre- 


IPHIGENIA AMONG THE TAURIANS. 


183 


ΧΟΡΟΣ. 


1420 ὦ τλῆμον ᾿Ιφιγένεια, συγγόνου μέτα 


wn ,ὔ “ nw 4 
θανεῖ, πάλιν μολοῦσα δεσποτῶν χέρας. 


ΘΟΑΣ. 


ὦ πάντες ἀστοὶ τῆσδε βαρβάρου χθονός, 


> s ΄ 3 , os 
οὐκ εἶα πώλοις ἐμβαλόντες ἡνίας 


΄ la) 5 Ν Ἂν 
παράκτιοι δραμεῖσθε κἀκβολὰς νεὼς 
1425 Ἑλληνίδος δέξεσθε, σὺν δὲ τῇ θεῷ 
΄ + a“ ΄, 
σπεύδοντες avdpas δυσσεβεῖς θηράσετε, 


aA δ᾽ > Ν ν 5 > 7 4 
ou ὠκυπομποῦυς ἔλξετ᾽ εἰς πόντον πλάτας; 


ε 5 4 » Ἂ ε ͵ὔ 
ὡς ἐκ θαλάσσης ἔκ τε γῆς ἱππεύμασιν 


λαβόντες αὐτοὺς ἢ κατὰ στυφλοῦ πέτρας | 


1430 ῥίψωμεν, ἢ σκόλοψι πήξωμεν δέμας. 


ὑμᾶς δὲ τὰς τῶνδ᾽ ἴστορας βουλευμάτων 


γυναῖκας αὖθις, ἡνίκ᾽ ἂν σχολὴν λάβω, 


ποινασόμεσθα: νῦν δὲ τὴν προκειμένην 


\ » lal ο 
σπουδὴν ἔχοντες οὐ μενοῦμεν ἥσυχοι. 


sented already as often as we care to 
hear it and a little oftener, the affair 
of the sacrifice ought to have been 
remembered by Iphigenia with vin- 
dictive resentment toward her country 
and her family, by way of gratitude 
to Artemis who saved her. But now, 
in siding with Orestes, she is said προ- 
δοῦναι τὸν φόνον. ---θεᾷ : dat. of disad- 
vantage; const. with the whole state- 
ment. — προδοῦσα : supplementary 
participle, the aor. being contempo- 
raneous. Both are regular in the 
connexion; cf. ἐμαυτὴν οὐ προδοῦσ᾽ 
ἁλώσομαι Andr. 191. 

1423-1425. οὐκ εἶα κτλ.: “ Will 
ye not up, etc.?” For the interjec- 
tion, cf. οὐκ el” ὃ μέν τις λοῖσθον apei- 
ται δόρυ, | ὃ δὲ κτλ.; Hel. 1597. — πώ- 
λοις : there is something incongruous 


in the mention of steeds among these 
Taurians, as we have seen the men 
represented, but the allusion is con- 
ventional in passages of this sort. — 
παράκτιοι: παρ᾽ ἀκτάς. --- ἐκβολὰς νεώς: 
for ναῦν ἐκβεβλημένην, but poetic and 
more comprehensive.—ovv τῇ θεῷ: 
we can sympathize with the king in 
his assumption that the goddess is on 
the side of her temple and its people. 

1427. οἱ δέ: others; cf. v. 1800. --- 
πλάτας : cf. v. 1133. Here for 
“ships,” like the English, so many 
‘sail’ Similarly, κώπη v. 140. 

1430. σκόλοψι πήξωμεν: cf Hat. 
iv. 103 (quoted on y. 75). Impaling 
was an exclusively barbaric practice. 

1431 ff. ὑμᾶς... γυναῖκας : bul you 
women who have connived at this treach- 
erous plot. —avOs ... viv δὲ κτλ.: cf 


184 


EYPIUIAOY I®IDENEIA., 


AOHNA. 


1435 ποῖ ποῖ διωγμὸν τόνδε πορθμεύεις, avak 


Θόας; ἄκουσον τῆσδ ᾿Αθηναίας λόγους. 
ω γ 


παῦσαι διώκων ῥεῦμά T ἐξορμῶν στρατοῦ: 


πεπρωμένος γὰρ θεσφάτοισι Λοξίου 


δεῦρ᾽ ἦλθ᾽ ᾿Ορέστης, τόν 7 ᾿Ερινύων χόλον 
1440 φεύγων ἀδελφῆς τ᾽ "Apyos εἰσπέμψων δέμας 
ἀγαλμά θ᾽ ἱερὸν εἰς ἐμὴν ἀξων χθόνα, 


τῶν νῦν παρόντων πημάτων ἀναψυχάς. 


“φ9 A rn ἃ rn 
πρὸς μὲν σ᾽ ὅδ᾽ ἡμῖν μῦθος" ὃν δ᾽ ἀποκτενεῖν 


δοκεῖς ᾿Ορέστην ποντίῳ λαβὼν σάλῳ, 


non Ποσειδῶν χάριν ἐμὴν ἀκύμονα 


1445 πόντου τίθησι νῶτα πορθμεύων πλάτῃ. 


ν. 1912. The threat of Thoas adds 
to the zest with which Athena’s 
injunction to liberate the captives 
is received (vs. 1467 f., 1482 f., 
1495 f.). 

1435 ff. The goddess Athena enters 
upon the scene in the conventional 
way, by means of stage-machinery 
μηχανῆς): hence the phrase 
deus ex machina, to denote the 
solution of a plot through supernat- 
ural interference. See p. 26, foot- 
note 21. 

1435 f. mot mot: the repetition is 
consonant with Thoas’ precipitate 
haste. So Peisthetaerus to Iris (the 
present situation reversed) αὕτη σὺ 
ποῖ ποῖ ποῖ πέτει; μέν᾽ ἥσυχος. Ar. 
Av. 1199.— τῆσδε: the speaker sig- 
nifies her own presence. —’A@nvatas : 
in tragedy, the goddess’ name is 
᾿Αθάνα, sometimes ’A@nvaia. The lat- 
ter, the old Attic name common in 
inscriptions, becomes in the Attic 
prose literature quite regularly ’Aé@nva, 
by contraction. 

1437. ῥεῦμα στρατοῦ: cf μεγάλῳ 


(ἀπὸ 


ῥεύματι φωτῶν Aesch. Pers. 87, pei 
πολὺς ὅδε λεὼς πρόδρομος ἱππότας id. 
Sept. 80. 

1438. πεπρωμένος : destined to the 
holy work. ‘This participle is gener- 
ally attributive when used personally ; 
cf. τὸν πεπρωμένον εὐνᾷ πόσιν ἐμέθεν 
Troad. 340. 

1440. φεύγων : pres. participle par- 
allel with the future; see on αὔξοντες 
v. 412. 

1442. ἐναψυχάς : appos. to the sen- 
tence (ἃ. 915, Hi. 626); ef. χάριν 
ἐμήν v. 1444. — ἀναψυχή, ἀναπνοή (v. 
92), mapapuxn, “respite.” 

1443-1445. πρὸς μὲν σέ: for the 
arrangement, see H. 786 a.—dév δὲ 
aTA.: “as for Orestes, whom thou 
think’st to slay, taken on the rolling 
deep, — Poseidon, for my sake, al- 
ready stills the ocean-wave, to speed 
his voyage.” —dkvpova: cf. νήνεμον V. 
1412, which denotes the same thing 
from another point of view. γαλήνη, 
“calm” (γαληνός metaphorically vy. 
345), applies to the placid water, the 
effect of νηνεμία. --- τίθησι πορθμεύων : 





IPHIGENIA AMONG THE TAURIANS. 


185 


μαθὼν δ᾽, “Opéora, τὰς ἐμὰς ἐπιστολάς, 


, ἊΣ 5 Ν ΄ > Ν lal 
κλύεις γάρ αὐδὴν KQLTTEP OU TAP Ov θεᾶς, 


χώρει λαβὼν ἄγαλμα σύγγονόν τε σήν. 
ὅταν δ᾽ ᾿Αθήνας τὰς θεοδμήτους μόλῃς, 


1460 χῶρός τις ἔστιν ᾿ΔΛλτθίδος πρὸς ἐσχάτοις 


ν , , = , 
ὁροισι, γείτων δειράδος Καρυστίας, 


ε / 
ἱερός, Adds νιν οὑμὸς ὀνομάζει eas: 


ἐνταῦθα τεύξας ναὸν ἵδρυσαι βρέτας, 


ἐπώνυμον γῆς Ταυρικῆς πόνων τε σῶν, 
1455 οὺς ἐξεμόχθεις περιπολῶν καθ᾽ ᾿λλάδα 


» > ¥ , 
οἴστροις ᾿ρινύων - Ἄρτεμιν δέ vw βροτοὶ 


Ν ε 
τὸ λοιπὸν ὑμνήσουσι Ταυροπόλον θεάν. 


νόμον τε θὲς τόνδ᾽ - ὅταν ἑορτάζῃ λεώς, 


τιθεὶς πορθμεύει, ἃ prose-writer would 
have said, preserving a closer gram- 
matical connection with the former 
clause Sv... ᾽Ορέστην κτλ. 

1446-1461. Addressed to the ab- 
sent Orestes. V. 1447 is parenthetical, 
and calculated to prevent any seem- 
ing strangeness or abruptness in the 
apostrophe. 

1446. ἐπιστολάς : mandates. 

1447. For the thought, cf. κλύων 
μὲν αὐδήν, ὄμμα δ᾽ οὐχ ὁρῶν τὺ σόν 
(Hippolytus to Artemis) Hipp. 86; 
ὡς εὐμαθές cov, κἂν ἄποπτος Fs 
ὅμων», | φώνημ᾽ ἀκούω καὶ ξυναρπάζω 
φρενί (Odysseus to Athena) Soph. 
Aj. 15, a general, not a particular 
statement. 

1449. θεοδμήτους : viz. founded by 
Athena herself ; ¢/. ἐμὴν χθόνα v. 1441, 
οὑμὸς λεώς ν. 1452. 

1450-1452. For the antiquities 
touched here and below, see Introd. 
p- 13.—’ArOlS05: sc. γῆς, Attica. 
Cf. v. 225. — δειράδος Καρυστίας : 
in Euboea. —iepds: sacred it be- 


came by the very acts 
scribed by the goddess. 


here pre- 
Α similar 


‘anachronism is κλειναῖς (y. 9) applied 


to Aulis. 

1453-1457. ἵδρυσαι : establish. The 
mid. of interested action; cf. y. 1481. 
The active, v. 978.— ἐπώνυμον... 
Ταυροπόλον θεάν: 1.6. with a name 
commemorative of the Taurian land, 
etc. The word περι- πολ - ὧν is intro- 
duced for the sake of this fanciful 
explanation of the familiar epithet. 
In reality, Artemis Tauropolos was 
goddess “of the kine.” There is much 
of similar playing upon proper names 
in the drama, esp. in Aeschylus; ef. 
the quot. on v. 394, and Shakspere’s 
‘Thou, Leonatus, art the lion’s whelp; 
| The fit and apt construction of thy 
name, | Being Leo-natus, doth import 
so much’ Cymbeline fin. (followed by 
a unique etymology for mulier).— 
οἴστροις : before the “mad chase” of 
the Furies. “Gadfly” (cf. v. 393) 
and “frenzy” are parallel meanings 
of olorpos, 


, 


EYPINIAOY I®ITENEIA. 


an “A A » 5 > , / 
τῆς σῆς σφαγῆς arow ἐπισχέτω ξίφος 
,ὔὕ \ > Ν -π , 3 5 nf 
1460 δέρῃ πρὸς ἀνδρὸς αἷμά τ᾽ ἐξανιέτω, 


Caen Ψ , > Y τι » 
ὁσίας ἕκατι θεά θ᾽ ὅπως τιμὰς ἔχῃ.- 


σὲ δ᾽ ἀμφὶ σεμνάς, ᾿Ιφιγένεια, κλίμακας 
Βραυρωνίας det τῆσδε κλῃδουχεῖν θεᾶς" 


οὗ καὶ τεθάψει κατθανοῦσα, καὶ πέπλων 


1465 ἀγαλμά σοι θήσουσιν εὐπήνους ὑφάς, 


ἃς ἂν γυναῖκες ἐν τόκοις ψυχορραγεῖς 


/ 5 2 » ’ὔ 5 5) la \ 
λείπωσ: εν OLKOLS. — τάσδε ὃ EK TRE [LTT ELV χθονὸς 


“Ἑλληνίδας γυναῖκας ἐξεφίεμαι 


γνώμης δικαίας εἵνεκ᾽, ἐξέσωσα δὲ 


1470 καὶ πρίν σ᾽ ᾿Αρείοις ἐν πάγοις ψήφους ἴσας 


’ 3 > , \ - 5 A / 
κρινασ,, Opéorta: KQL VOLLO JL EOTAL TOOE, 


νικᾶν ἰσήρεις ὅστις ἂν ψήφους λάβῃ. 


1459 f. ἄποινα: appos. to the sen- 
tence. The rite described is here 
treated as a symbolical compensation 
to Artemis for the intended slaughter 
of Orestes at her Taurian temple. — 
ἐπισχέτω ξίφος : translate as passive. 
The subj. is the general idea of the 
proper person or functionary, here 
the priest.—8épy πρὸς ἀνδρός : πρὺς 
δέρῃ. Such placing of the preposition 
is common, the substantive with its 
limiting genitive being regarded as 
one term. 

1462-1467. σὲ δὲ... ἐν οἴκοις: 
apostrophe to Iphigenia. — σεμνάς : 
worshipful. See on ἱερός v. 1452. The 
cult of the Brauronian Artemis was 
of great antiquity and dignity. Brau- 
ron lay inland not far southwest of 
Halae Araphenides.—kdipaxas Bpav- 
pwvias : terraces of Brauron. κλίμακες, 
probably with reference to a natural 
conformation of the hilly region. — 


κλῃδουχεῖν : κλῃδοῦχον εἶναι. See on 
v. 191. --- ἄγαλμά σοι θήσουσιν : shall 
make offering to thee of, etc. ἄγαλμα, 
pred. noun. ‘There is a trace here of 
the original identity of Artemis and 
Iphigenia. 

1467 f. τάσδε... . ἐξεφίεμαι: ad- 
dressed to Thoas. Beyond this com- 
mand to liberate the captive Grecian 
women, Athena’s further injunctions 
upon the Taurian king in the interest 
of humanity, as well as her directions 
to the chorus itself (cf. vy, 1494), have 
been lost from the text. 

1469 ff. γνώμης δικαίας εἵνεκα : the 
application of these words is not clear, 
as the first part of this second apo- 
strophe to Orestes has been lost. 

1471 ff. κρίνασα : “separating,” 1.6. 
“telling off”; cf διηρίθμησε v. 966.— 
vukav: the subj. is the antecedent of 
doris. For the custom, see on y. 965. — 
ἰσήρεις : ἴσας. The position before the 


IPHIGENIA AMONG THE TAURIANS. 


187 


ἀλλ᾽ ἐκκομίζου σὴν κασιγνήτην χθονός, 


> /, A \ Ν Ἂς A / 
Ayapeuvovos παῖ, καὶ σὺ μὴ θυμοῦ, Θόας. 


ΘΟΑΣ. 


3», oS / a 
1475 ἀνασσ᾽ ᾿Αθάνα, τοῖσι 

4 4 ¥ 

ὅστις κλύων αἀπιστος, 


ἐγὼ δ᾽ ᾿Ορέστῃ τ᾽, εἰ 


τῶν θεῶν λόγοις 
οὐκ ὀρθῶς φρονεῖ. 


φέρων βρέτας θεᾶς 


βέβηκ᾽, ἀδελφῇ τ᾽ οὐχὶ θυμοῦμαι τί γὰρ 
πρὸς τοὺς σθένοντας θεοὺς ἁμιλλᾶσθαι καλόν; 


1480 ἴτωσαν εἰς σὴν σὺν θεᾶς ἀγάλματι 


ω θ ὃ ͵ / > > fx , 
γάιαν, κασι βρυσαιντο ΤΕ EUTUKWS βρέτας. 


πέμψω δὲ καὶ τάσδ᾽ “Ἑλλάδ᾽ εἰς εὐδαίμονα 


A Y Ν ΄ > = Sl lee 
γυναῖκας, ὥσπερ σὸν κέλευσμ᾽ ἐφίεται. 


, δὲ ΄, ἃ > Ἄ ΄, 
παυσω is λόγχην ἫΝ ἐπάιρομαι ξένοις 


lal > 3 / Ν 7Q9 ε ia) , 
1485 νεῶν T ἐρετμά, σοὶ τάδ᾽ ws δοκεῖ, θεά. 


ΑΘΗΝΑ. 


αἰνῶ: τὸ γὰρ χρεὼν σοῦ τε καὶ θεῶν κρατεῖ. 


¥> κφ3 , “- Ν > / 
ir ὦ πνοαί, ναυσθλοῦσθε τὸν Αγαμέμνονος 


παῖδ᾽ εἰς ᾿Αθήνας: συμπορεύσομαι δ᾽ ἐγώ, 


σῴζουσ᾽ ἀδελφῆς τῆς ἐμῆς σεμνὸν βρέτας. 


rel. has been noted often; cf. vs. 1461, 
1475 f., 1485.—xal σὺ μὴ θυμοῦ Θόας: 
and thou, Thoas, be not wroth. The 
speech is not allowed to close with 
the apostrophic form. So the lost 
portion, vs. 1467 ff., being addressed 
to Thoas, a person present on the 
scene, was calculated to obviate any 
strained effect. 

1476. ἄπιστος : ἀπιστεῖ, ἀπειθεῖ. 

1477 f. ἐγὼ δέ: see on vy. 7531. --- εἰ 
... βέβηκε: causal in effect; see G. 
1423, H. 926, --- οὐχὶ θυμοῦμαι : re- 
sponse to μὴ θυμοῦ v. 1474. For οὐκ 
with ré... τέ, cf. vs. 1367 ft; 


1484 f. λόγχην νεῶν τ᾽ ἐρετμά: cf. 
πολεμίων ἐρετμοῖσι καὶ λόγχαις Υ. 1110. 
- ἐπαίρομαι : as we say ‘take up 
arms against’; cf. of φημι χρῆναί σ᾽ 
ὅπλ᾽ ἐπαίρεσθαι θεῷ Bacch. 789. 

1486. αἰνῶ: J praise thee. A gra- 
cious commendation of the wise and 
reverent submission of the king. — 
τὸ yap χρεὼν... κρατεῖ: Fate doth 
even the powers of heaven constrain, —A 
so-called ‘literal’ translation of σοῦ 
re καὶ θεῶν would be intolerable. 

1487-1489. Finally, the apostro- 
phic form again, appropriately to the 


exit of the goddess herself. —tr’ ὦ 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


XOPOS. 


1490 ἴτ᾽ ἐπ᾽ εὐτυχίᾳ τῆς σῳζομένης 


μοίρας εὐδαίμονες ὄντες. 


> CY ἼΥΤΗ͂Ν \ , ayes ΄, 
ἀλλ᾽ ὦ σεμνὴ παρά τ᾽ ἀθανάτοις 


καὶ παρὰ θνητοῖς, ἸΤαλλὰς ᾿Αθάνα, 


9 Ἂς 
δράσομεν οὕτως ὡς σὺ κελεύεις’ 


1495 μάλα γὰρ τερπνὴν κἀνέλπιστον 


φήμην ἀκοαῖσι δέδεγμαι. 


S , \ ΤᾺ SN 5 Ν 
ὦ μέγα σεμνὴ Νίκη, τὸν ἐβιὸν 


βίοτον κατέχοις 


καὶ μὴ λήγοις 


πνοαί; Blow, ye breezes ! — ἀδελφῆς 
τῆς ἐμῆς: viz. Artemis, the daughter 
of Zeus. 

1490 f. Apostrophe to the voyagers. 
Go, and God speed you, happy as ye 
are to be counted among the saved !—'The 
phrase ἡ σῳζομένη μοῖρα was employed 
to designate ‘the surviving party’ in 
any sort of an affair. There is much 
pertinence in Wecklein’s suggestion 
that the present passage may have 
been intended especially for the audi- 
ence, with allusion to the great Sicilian 
disaster. For dramatically, there is 
a lack of antithesis, since nobody re- 
mains in the play of whom it could 
properly be said οὐ σῴζεται. 


στεφανοῦσα. 


1492. σεμνὴ παρά: revered among. 

1494. The reference is to some in- 
junction that has been lost from the 
text after v. 1468. 

1495 f. Fora sound right joyful and 
unlooked-for mine ears have heard to- 
day!—They have heard the word 
ἐλευθερία. 

1497-1499. This formula, found 
also at the close of the Phoenissae and 
the Orestes, is pronounced on behalf 
of poet and choregus, as participants 
in the dramatic contest, and is nowise 
connected with the subject of the 
drama. — “Ὁ Victory, most worship- 
ful, attend thou on my days, and cease 
not to bestow thy crown.” 





ATHENA (Statue from Velletri in the Louvre). 





Ἔα πο πὸ θεν ΠΣ Εν: 


In the following list of principal deviations from Ms. authority no 
mention is made of obvious corrections that have been generally adopted. 
The reading of the Mss. follows the colon, or is printed in common type. 


Verse 3. ἄπο: δὲ παῖς. --- 15. δεινῆς 7 ἀπλοίας πνευμάτων τ᾽ οὐ τυγχάνω». --- 
24. τέχναι: τέχναις. --- 36. χρώμεσθ᾽: “Apreuis. — 59, 60. οὐδ᾽ αὖ συνάψαι τοὔναρ 
εἰς φίλους exw: [ Στροφίῳ γὰρ οὐκ ἦν παῖς, ὅτ᾽ ὠλλύμην ἐγώ. --- 62. παροῦσ᾽ 
ἀπόντι : παροῦσα παντί. --- 84. ods ἐξεμόχθουν περιπολῶν καθ᾽ Ἑλλάδα. --- 97. κλι- 
μάκων : δωμάτων. 

120. τοῦδέ γ᾽ : τοῦ θεοῦ. --- 130. πόδα παρθένιον ὅσιον ὁσίας. --- 142. σπέρμ: 
supplied. — 145 f. τὰν οὐκ εὔμουσον μέλπουσα: Tas οὐκ εὐμούσου μολπᾶς. --- 
149. ἀπλακόνθ᾽ : supplied.—181. δεσποίνα 7 (or γ᾽) ἐξαυδάσω. --- 188. τῶν 
σῶν : supplied. —192. ὁπότε: supplied. — 194. μετέβασ᾽ : supplied. 

208. Printed after v. 220.—213. dv: supplied. — 226. ἄταν : ἄταν βωμούς. 
—238. τε καί: παῖ καί. --- 258. ἥκουσ᾽ οἵδ᾽ ἐπεί: ἥκουσιν, οὐδέ tw. — 290. περὶ 
Tov: πέτρινον. --- 294. xa hac: ἃς φᾶσ᾽. --- μυκήματα : μιμήματα. 

306. μικρῷ : μακρῷ. --- 395. πόρτιν : supplied. 

407. εἰλατίνας : εἰλατίνοις. --- κώπας : κώπαις. --- 428. ποσί: supplied. — 452. 
συνείην : cunBainv.— 466. ἀναφαίνει : Ἕλλησι διδοὺς ἀναφαίνει. --- 4117. σαφώς : 
κακόν. --- 481. ἔσεσθε δή : ἔσεσθ᾽ ἀεί. ; 

514. τοῦθ᾽ ὅρα: τοῦτ᾽ ἔρα. --- 521. λέκτρα: δῶμα. --- 529. τοῦτ᾽ : τοῦδ᾽. --- 
558. τῇδε: τήνδε. --- 588. ᾿Αργόθεν : ἀγγεῖλαι. 

618. τήνδε: τῆσδε. --- 642. λέγουσ᾽ ἀπίστους : λέγουσα πιστάς. --- 645. ῥανί- 
σιν: supplied. — 649. πόδ᾽ ἐμβάσει : ποτ᾽ ἐπεμβάσει. --- 052. ἀπόλλυσαι : διόλ- 
λυσαι. --- 672. διῆλθον : διῆλθε. 

744. τοῖσι σοῖς: τοῖς ἐμοῖς. --- 782. ἀφίξεται : ἀφίξομαι. 

818. ἁδέξω : ἀνεδέξω. --- 832. δάκρυ᾽ ἀδάκρυα, kato yoos: δάκρυ (or δάκρυα. 
δάκρυα), κατὰ δὲ γόος. --- 834. τὸν ἔτι: τὸ δέ τι. --- ἔλιπον ἔλιπον : ἔλιπον. --- 
838. θυμὸς εὐτυχῶν: εὐτυχῶν ἐμοῦ | Puxd. —853. οἶδ᾽, οἶδ᾽ ὅτε: οἶδ᾽, ὅτε. 

912. ἐπίσχει: ἐπίσχῃ. --- 938. δράσων : δράσειν. --- 941. δ᾽ : supplied. 

1071. μητρὸς πατρός τε καὶ τέκνων ὅτῳ κυρεῖ. --- 1097. ὀλβίαν : λοχείαν. 

1116. θ᾽ Ἰλληνοθύτας : τοὺς μηλοθύτας. --- 1120. μεταβάλλειν δυσδαιμονίαν : 
μεταβάλλει δυσδαιμονία. --- 1184, δή : πρότονοι. --- 1148. avr ἁβροπλούτον τ᾽: 
ἁβροπλούτοιο εἶς. --- 1150. ταῖς γένυσιν περιβαλλομένα : καὶ πλοκάμους περιβαλ- 
λομένα γένυσιν. ---1151. οὐκέτ᾽ : supplied. 

1213. οὖς δεῖ: οὐδείς. --- 1297. γέννησε: 5ῈΡΡΙ166. --- 1239. φέρε δ᾽ ἵνιν: 
φέρεν νιν. --- 1242. ματέρ᾽ els: μάτηρ. --- 1247. εὖ: supplied. — 1248. κλεινόν : 


APPENDIX. 191 


supplied. — 1249. σὺ δέ νιν: ἔτι μιν. --- 1252. ζαχρύσων : (abewy. — 1259 f. 
ἐπεὶ γαΐων παῖς ἀπένασσεν ὁ Λατῴος : ἐπὶ yas ἰὼν maid’ ἀπενάσσετο. --- 1267. χα- 
μεύνας : yas εὐνάς. --- 1276. ἐπὶ δὲ σείσας : ἐπεὶ δ᾽ ἔσεισεν. 

1307. ὅδ᾽ : τόδ᾽. --- 1309. ἔφασκον : ψευδῶς ἔλεγον. --- 1333. χερσί: ὄπισθε. 
— 1334. ὄπισθε: χερσί. --- 1346. ταρσ... ἐπτερωμένον. Printed after v. 1394. 
-- 1352. σπεύδοντες ἦγον διὰ χερῶν πρυμνήεια. --- 1959. διδόντες : δὲ δόντες. -- 
1858. νόμῳ : λόγῳ. --- 1380. παρθένῳ : suppiied.— 1386. ναύτης λεώς : ναῦται 
νεώς. --13594,. See above, v. 1546. 

1438. πεπρωμένος : πεπρωμένο!:. 


INDEX. 


The figures, when preceded by p., refer to the pages; otherwise, to the verses of the play, 
or to the notes, or to both. The references are not meant to be exhaustive. 


ἁγνεύειν 1227. 

aive 1486. 

αἰτίαν ἔχειν 1090. 

ἄκαιρος 419, 754. 

ἀκίνητος 1157. 

ἀκοντίζειν (metaphori- 

cally) 362, 1870. 

ἀκούειν (with inf.) 958. 

ἄκραντος 520. 

ἀκροθίνια 75, 459. 

ἀκύμων 1444. 

ἀλλά 999, 1170. 
elliptical, 964. 


for ἀλλὰ γάρ, 118, 646. | 


ἀλλ᾽ ἡ 806. 

ἀλλάσσεσθαι 292. 

ἄλυρος 140. 

ἄμεικτος 403. 

ἀνάγκη (“servitude”) 
1118. 

ἀναγνώρισις p. 16; 3808. 

ἀναλίσκειν 991. 

ἀναψυχή 1442. 

ἂνθ ὅτου 920. 

ἀνώνυμοι θεαί 944. 

ἀντιλαβαί p. 40. 

Αξεινος πόντος 218. 

ἀπάγειν 906. 

ἀπαίρειν 511. 

ἀπέπτυσα 1101. 

ἄπιστος 1476. 

ἀποδιδόναι 745. 

ἄποινα 1459. 

ἀπολαύειν 526. 








ἀπολλύναι 541. 
ἀπορρηγνύναι βίον 974. 
ἀπόφθεγκτος Vol. 
ἄπτερος ὄρνις 1095. 
ἄρα 351, 472, 880, 1222. 
ἀραῖος 778. 

ἀρέσκειν 1335. 
ἄστακτος 1242. 
αὐλεῖσθαι 907. 

αὐτοῦ 974. 

ἀφειδεῖν 1354. 


βακχεύειν 1249. 
βάρβαρος 1337. 

βεβώς 1288. 

βλέπειν (“live”) 608. 
βρυχᾶσθαι 1590. 


γαλήνη, yadnvos 1444. 
γαμεῖν 682. 

γάνος 094. 

yap 328, 506, 1518. 

γέ 7 510, 749, 918, 919. 
γεγώς 475, 610. 
γεννήσας πατήρ 499. 
γένος (“sex”) 1061. 
γίγνεσθαι 1001. 

yovos 1234. 


δάφνη 1100, 1246. 
Servos 1032. 

δέλτος 727. 

δέσις p. 20, foot-note. 
δέχομαι 793. 








δή 459, 1184. 

δή ye 949. 

διά 683. 

διαδοχαί 79. 

διαμείβειν 396. 

διαπερᾶν 395, 1392. 

δίκην παρασχεῖν 944, 
945. 

Δίκτυννα 127. 

δινεύειν 192. 

Aios 404. 

δίπαλτος 325. 

δίπτυχος 242. 

δοκεῖν 8, 44, 299, 956, 


1355. 


δόλια, δόλῳ 859. 
δόξα 1030, 1164. 
δόρυ, δορί 519, 1526. 
δρόσος 1192. 
δύνασθαι 1023. 


ἐᾶν 1544. 

éykAnpos 682. 

ἐγὼ δέ 372, 731. 

εἶα 1425. 

εἰδέναι 248, 814. 

εἰπεῖν ἀκοῦσαί τε 964. 

ἐκ 221. 

ἐκβαίνειν 98, 181. 

ἔκβολος 1042. 

ἐκκλέπτειν 591. 

ἐκνεύειν 1186, 1330. 

ἐκπλήσσειν (“inter- 
rupt”’) 773. 


ἐμπεδοῦν 790. 

ἔμπυρα 16. 

év 762. 

ἐξαίρετος 75d. 

ἐξαλλάσσειν 155. 

ἐπαίρεσθαι 1484. 

ἐπεί (with impf.) 261, 
942. 

ἐπείγεσθαι 1395. 

ἐπί 482, 680. 

ἐπισκήπτειν 701. 

ἐπιστάτης 1284. 

ἐπιστολαί 786, 1446. 

ἐπιστροφή 671. 

ἐπομνύναι 747. 

ἐπωτίδες 1550. 

ἐρέσσειν (of flying) 289. 

*Epwies p. 13, foot-note. 

ἑρμηνεύς 1502. 

ἕρπειν 477, 699. 

ἔστιν ἔστιν 721. 

εὖ 1131. 

εὖ γε 1212. 

εὐγενής 219 

εὐδαίμων 1088. 

εὐθυντηρίαι 1556. 

εὐλαβεστέρως 1375 

εὔπαις 1254. 

εὑρίσκεσθαι 875. 

εὐφημεῖν 123, 687. 

ἐφθαρμένος 276. 

ἔχειν 375, 718, 789, 828, 
1066, 1128 


ἤ (or ‘suggestive ') 503, 
1164. 
ἡ kal 741. 
ἥκειν 42, 258. 
impers. withady.,420. 


θάρσος 7:30. 
θάσσειν 277. 

θεός and τύχη 867. 
θριγκοί. θριγκώματα 73 


129 





GREEK INDEX. 


θύειν 621. 
θωύσσειν 1127. 


ἱδρύεσθαι 1455. 
ἵπποι (fem.) 2, 192. 
ἰσήρης 1472. 


καί 592, 1125, 1401. 
καὶ μήν 256. 

καίτοι 120. 

κάκη 676. 
κακιστέον 105. 
κάλαμος 1120. 
καλλιστεῖον 329. 
κάμπτειν 815. 

κάρα, κεφαλή 98 
καραδοκεῖν ε 315. 
κατάντης 1012. 
κατάρχεσθαι 40. 
κατασβεννύναι 635. 
κατεργαΐεσθαι 1173. 
Ketvos +18. 
κεῖσθαι 166, 


1189. 
κελαδεῖν 1095. 
κέλευμα, κελευστής 
1405. 


κέλλειν 1579. 
κερδαίνειν, κέρδος 10:4. 
κινεῖν 1157. 

κλέπτης 1020. 
κλῃδουχεῖν 1463. 
κλῃδοῦχος 151. 
κλῃΐεσθαι 905, 917. 
κλίμακες 1462. 

κλύδων 1507. 

κλύειν (with inf.) 958. 
κομίζεσθαι 774. 

κόσμοι 1229. 

κόχλος 305. 

κρίνειν 1471. 

κτάσθαι 676. 

κυάνεος 241. 

κύκνος 1105, 





177, 620, | 





193 


κυναγός 284, 709. 
κυρεῖν 759. 
κώπη 140. 


λακτίζειν (πρὸς κέντρα) 
1596. 

λάσκειν 461. 

λατρεύειν 1115. 

λέγειν (with participle) 
641, 1047. 

λιπαρός 1190. 

λόγος 240, 578. 

λυπεῖν (absolute) 485. 

λύσις p. 20. 


μακράν 629. 

μᾶλλον μᾶλλον 1406. 

μάντις 711, 1128. 

μέλεσθαι 184, 045. 

μέλπειν 429 

μέμονε 655. 

μέν 330, 886. 

μέντοι 637, 1335. 

μέσος (els μέσον) 420. 

μεστός 801. 

μετελθεῖν 11. 

μῖσος 525 

μοῖρα (ἡ 
1490. 

μολεῖν 1033. 


σῳϊζομένη) 


μῦθος p. 16, foot-note. 
Μυκήνα 546. 
μυσαρός 1211. 


ναύτης (adj.) 1586. 
νήνεμος 1444. 
νόστος 1112. 

νυκτὸς ὄμμα 110. 
νῦν (for viv δή) 327. 


ξόανον 87, 1223, 1359. 


ὅδε 256, 
οἶκτος 1054. 


194 


οἷστρος 1456. 

ὀκέλλειν 1379. 

ὄλβος 455. 

ὀλολύζειν 1337. 

ὄμμα ἔχειν 373. 

ὁμόσπορος 611. 

ὀμφαλὸς γῆς 1258. 

ὄναισθε 1078. 

ὄνομα 905. 

ὅπως 321. 

ὁρίζειν 979. 

ὁρίζεσθαι 969. 

ὅρος 1219. 

ὁσία 1101. 

ὅσος (for ὁσάκις, etc.) 
362. 

ὅσπερ 612. 

ὅτε (with οἶδα) 852. 

οὐ yap ἀλλά 1008. 

οὐκ ἐῶ, οὔ φημι 1544. 

οὐκ οἶδα 659. 

οὐ μὴν ἀλλά 630. 

οὐδέ 927. 

οὔρειος 102, 1126. 

οὗτος 916. 


παιάν 1404. 
παλιμπρυμνηδόν 1595, 
παρ᾽ οὐδὲν θέσθαι 732. 
παραβάλλεσθαι 1094. 
παραστάδες 1159. 
παρασχεῖν δίκην 944. 
πάρεργον 516. 


πάρος (for μᾶλλον) 656. 


πάσχειν 658, 755. 
πατροκτόνος χείρ 1083. 
πειρατήρια 907. 
πέλαγος ἁλός 900. 
πέμπειν 590, 943. 
πεπρωμένος 1438. 
περᾶν 395, 724. 
περιβάλλειν 788, 799. 
περιπέτεια p. 16; 730. 


πέσημα 315, 1384. 





GREEK INDEX. 


πεφυκέναι 610. 
πηγή 1192. 
πίπτειν 730), 1010. 
πίτυλος 307, 1050. 
πλάτη 1427. 
πλέον 1336. 
πλέον λαβεῖν 496. 
πλὴν ὅσα 019. 
ποθεινός 513, 1006. 
ποῖος 1319. 
πολύθυρος 727. 
πομπή 651. 
πορθμεύειν 936. 
πόρος 253. 
πορφυρευτικος 263. 
πότερον (omitted) 656. 
πούς 

“ sheet-line,” 1135. 

πόδα, 649. 

— πέμπειν, 130. 

— τιθέναι, 52. 

ἐν ποσί, 1312. 
πράσσειν 33, 692. 
πρέσβειρα 963. 
προκεῖσθαι 1189. 
προσάντης 1012. 
προστροπή 018. 
προνυφείλειν 523. 
πρύμνηθεν 1340. 
πῶς av 627. 
πῶς φής 1317. 


ῥεῦμα στρατοῦ 1457. 
ῥήῆσις ἀγγελική p. 29. 
δον 407, 1387. 


σάλος 46. 

σέ (suffers elision) 656. 
σέβεσθαι 649. 

σιγᾶν 458. 

σόφισμα 580, 1031. 
στεναγμος 1390. 
στέργειν 1335. 

στομοῦν 287. 





συγκυρεῖν 874. 
συντείνειν 207. 
συρίζειν 1125. 
συστέλλεσθαι 295. 
σφραγίζειν 1972. 


τὰ γυναικός 1006. 
ταρσός (1994) 1346. 
Ταυροπόλος θεά 1457. 
τεκνούῦσθαι 1263. 
τηλύγετος 828. 

τιμή 776. 

τίνος τίς ὧν 1900. 

τὶς 548, 615. 

τλῆναι, τόλμα 869. 
τοί 1054. 

τρέφειν 849. 
τρίγλυφοι 119. 
τροχήλατος 82. 
Τροχοειδὴς λίμνη 1103. 
τυγχάνειν 616. 
τυχεῖν 252, 1921, 
τύχη 867. 


ὑφαίνειν 817. 


φάναι 1071. 
φάσκειν 1309. 
φέρεσθαι 410. 
φεύγειν 512, 1326. 
φήμη 1496. 
φίλτρον 1182. 
φροῦδος 1294. 
φῶς 187. 
φῶς ὁρᾶν 608. 
φωσφόρος θεά p. 15, 
foot-note; 21. 


χαῖρε 922. 

χάριν τίθεσθαι 602. 
φέρειν, 14. 

χοαί 102. 

χοροὶ ἐγκύκλιοι 429. 

χρεών 71. 


χρόνῳ 1536. 
χωρεῖν 1358, 1392. 


ψάλλειν 179. 


ψῆφος 945. 
᾿Αθηνᾶς, 966. 


ὠλένη 966. 

ὡς (with participle) 
377, 383. 

ὡς δή 682. 

ὥς 603. 





‘ Achilles’ Race-course’ 
436. 
adjective 
for adv., 1284. 
for gen. of proper 
noun, 5, 263. 
simple, of two ter- 
minations, 1202. 
alliteration 209, 364 ff., 
596, 823, 876, 1317. 
Amphitrite 425. 
anachronisms 958, 1452. 
anacolutha 675, 695, 
947, 964. 
anapaests p. 41. 
anaphora 205, 227, 480, 
832, 984, 1018, 1059. 
anticipation 475, 904, 
996. 
antistrophic assonance 
p. 49; 445. 


antithesis 381, 516, 
1026, 1264. 
aorist 





dramatic, 351, 672. | 


inf. 
ous 44, 785. 

ingressive, 309. 

participle contempo- 
raneous, 309, 329, 


441, 1419. 


contemporane- | 


ENGLISH INDEX. 


apostrophic form 1446, 
1474, 1487. 
Areopagus 945, 962. 
arrangement: see posi- 
tion. 
Artemis Tauropolos p. 
14. 
article 920, 902, 1006, 
1299. 
as relative, 35. 
with  interrogative, 
1319. 
assimilation 119, 939. 
of tense, 262, 356, 
671, 1039, 1342. 
assonance 310, 450,710. 
asyndeton 40, 310, 675. 
Athena 
casting-vote, p. 13. 
form of name, 1436. 
Athens 1088, 1180, 
1449. 
attraction 979, 1293. 


ban 951. 

bay-tree 1100, 1246. 

Bosphorus 395, 395, 
422. 

boxing of Barbarians 
1371. 

brachylogy 1227. 

Brauron p. 14, foot- 


note. 
bridal veil 372. 


‘Bride of Death’ 369. 


Calchas 532, 663. 
Castalia 1242. 
cenotaph 702. 
chiasmus 182. 

Choés 960. 

chorus p. 26, foot-note, 
p. 31; 576, 798, 
1052. 


195 


commos p. 26, foot- 
note, p. 32 foot- 
note. 

conch-shell 909. 

copula omitted 903. 

Cora 1254. 

coryphaeus 236. 

couplets of synony- 
mous words 243, 
244, 491. 


Delos 1098, 1240. 

dénouement p. 20. 

deus ex machina p. 26; 
1435. 

dialect p. 48; 126, 138. 

Dictynna 127. 

Dioscuri 272. 

dochmiacs p. 50. 

dream-oracle 
1278. 

drink-offering 162. 


1266, 


eclipse 193. 
elision 656. 
ellipsis 821, 630, 1174. 
enclitics 679. 
entrances and exits p. 
23. 
epeisodion p. 26, foot- 
note. 
epithets 
‘limiting,’ 1095. 
‘ornamental,’ 
1264. 
equivokes p. 21; 1195, 


700, 


1197, 1218, 1221, 
1230. 
ethical dative (with 


χαῖρε) 922. 
etymologizing p. 14, 
foot-note; 82, 594. 
Eumenides p. 12 jfin.; 
969. 


196 


euphemisms 755, 944, 
1173. 

euphony 365, 654 f. jin. 

Euripus 6. 

Eurotas 400. 

exodos p. 26, foot-note. 

eyewitness and hearsay 
812, 901. 


family-name 697. 

funeral-rites 172, 627, 
682, 821. 

Furies p. 13, foot-note; 
281 ff. 


Greek sentiments 455, 
502, 551. 


Halae p. 14, foot-note. 

haleyon 1089. 

hearsay and eyewitness 
812, 901. 

Hecate p. 15; 21. 

heirloom 826. 

Helen of Euripides p. 
39, foot-note. 

Hippodamia 2, 825. 

homoeoteleuton 847. 

hyperbaton 1524. 

hyperbole 718. 


iambic trimeter (see 
also pause, Porson’s 
Rule, and rhythm) 
p. 36, p. 98, foot- 
note; 832, 985. 

idioms 515, 683, 908, 
1068, 1208, 1238, 
1344. 

imperfect 27, 335, 667, 
964. 

with ἐπεί, 261, 942. 

indicative (in final 

clause) 357. 





ENGLISH INDEX. 


infinitive 
with ἀκούειν, 958. 
with word denoting 
fear, 1342. 
interjections outside of 
the verse, 467, 559. 
interrogatives 
with article, 1519. 
two in one sentence, 
1560. 

To 394. 

Iphigenia (character- 
ized) p.5,p. 27; 386, 
378, 587 jin., 590, 
595, 637, 740, 805, 
810, 852, 875, 912, 
999, 1023 jin., 1185. 

irony (see also equi- 
vokes) p. 17, p. 21, 
foot-note; 340,615. 


juxtaposition 598, 621. 
kidnapping 1358. 


Leucothea 270. 

‘limiting’ epithet 1095. 

litotes 520, 591,593,651. 

logaoedic rhythm p. 46, 
p. 50. 

lyrical style 145. 


marriage ceremonies 
372, 818. 

mementoes of the dead 
821. 

messengers p. 29; 1291, 
1323. 

metaphors 79, 81, 500, 
307, 345, 442, 599, 
680, 815, 955, 956, 
1043, 1095, 1517. 

metrical schemes pp. 
47 ff. 








miracles 1168. 

Moloch 626. 

Mopsus 582, 1128. 

musie of the Greek 
drama p. 34. 

Mycenae 845. 


national spirit in the 
Greek drama 1386. 

negative (double) 1212. 

negative particles 116, 
354, 697, 1367. 

‘nominative absolute’ 
947. 

noun as adjective 299, 


1386. 


oath-taking 7650. 

omens 1034, 1221, 1385. 

oracles p. 22, foot-note ; 
86, 973. 

order of words: see 
position. 

Orestes (characterized) 
Pp: LOS pap 9»; π- 
102, 490, 496, 502, 
507, 510, 570, 591, 
619, 687, «11 OL 


Jin., 1012. 

Orestes’ sojourn at 
Athens p. 19. 
ornamental epithets 

511. 


oxymoron 512, 559, 568. 


Palaemon 271. 

Pan 1128. 

parallelism 1401. 

parataxis 990. 

Parnassus 709, 1244. 

paroemiac verse p. 45, 
foot-note. 

parodies p. 3, foot-note; 
32, 512, 844. 


parodos p. 26, foot- 
note, p. 32, foot- 
note. 
paronomasia 209. 
participle 
present, expressing 
purpose, 411, 548, 
1440. 


supplementary, with 
φροῦδος, 1294. 

vocative construc- 
tion, 788. 

with λέγειν, 1047. 





Patin p. 20, foot-note, 


p. 33, foot-note. 


pause 2, 8,675,705, 996. | 


periphrases 80, 96, 120, 
292, 300, 312, 370, 
410, 605, 721, 727, 
793, 817, 859, 905, 
1006, 1129, 1263, 
1424. 

personal pronoun em- 
phasized 490, 731. 

Persians of Aeschylus 
p. 29. 

Philoctetes of Sophocles 
p. 28, foot-note, p. 
36, foot-note. 

Phineus 422. 

plays upon names, p. 14, 
foot-note; 394, 395, 
500, 1454. 

‘Porson’s Rule’ 580,914. 

plural (for sing.) 80. 

‘generalizing,’ 109, 
948, 539, 619, 1358, 
1402. 

position 21, 22, 39, 72, 
177, 202, 235, 298, 
366, 378, 475, 498, 





ENGLISH INDEX. 


556, 605, 621, 646, 
679, 875, 979, 1014, 
1064, 1209, 1524, 
1401, 1460, 1472. 
potential construction 
1007. 
proceleusmatics p. 44. 
prolepsis 475, 996. 
prologue p. 24. 
prophets 1128. 
proverbs910, 1026, 1064, 
1121, 1193, 1396. 
punctuation 8. 
purification from blood- 
guiltiness 1224. 
Pylades (characterized) 
p. 4; 102, 650, 659, 
669, 709, 711, 716, 
719, 902. 
Pythian Games 1282. 
Python 1245. 


quantity of syllables, 
51, 250, 253. 

quotation by the an- 
cients 727. 


relative pronoun 320, 
359, 420. 
repetition 402, 486, 522, 
669, 721, 722, 994, 
511, 1455. 
rhetorical form 675. 
rhythm 27, 674, 985. 


sacrifice of Iphigenia 
pp. 10-12, foot- 
note. 

Schmidt, J. H. Hein- 
rich, p. 55, foot- 
note, p. 46, foot- 
note; 1149, 





197 


self-apostrophizing 344, 

sigmatism 634 f. jin., 
679, 765. 

stasimon p. 26, foot- 
note. 

stichomythia p. 41 ; 69, 
492, 811, 922 jin., 
1027, 1040. 

Sun-god 11388, 1207. 

suspense p. 17. 

swan-song 1105. 

symmetry 490 jin., 795 
Jin. 

Symplegades 125, 241, 
889. 

synizesis 270, 1048. 


Tantalidae p. 8, foot- 
note. 

Tantalus 387. 

temple 113, 128. 

Thoas (characterized) 
p- 20, foot-note, p. 
28; 1200. 

transition 95, 340, 576, 
673 fin., 758, 912. 

translating 411, 1486. 

tribrachs p. 36, p. 37, 
foot-note ; 985. 

triglyphs 113. 

Triton 303, 425. 

trochaic tetrameter p. 
37. 


Wecklein p. 15, foot- 
note, p. 28, foot- 
note, p. 40, foot- 
note; 1490, 

Weil p. 39, foot-note; 
281, 


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